Paloceras designs singular frame exclusively for Robert Wun’s Paris haute couture runway
The 3D printed design, which has a futuristic face-hugging wraparound shape, produced in three colours, was created as an integral part of the couture silhouette by Wun. Developed and hand-finished in Helsinki at the eyewear brand’s new MicroFactory, (https://www.eyestylist.com/2026/01/paloceras-3d-printed-limited-collections-now-made-in-helsinki/) the frame itself was conceived by Paloceras Design Director Alexis Perron-Corriveau, with collaborating designer Paris Koutsavelis – and produced under the direction of Erwin Laiho, Industrial Designer and Paloceras MicroFactory Lead with finishing carried out by Laiho to ensure material precision and coherence with the garments shown on the runway.
The initial intention for eyewear originated within Wun’s collection narrative. Paloceras was invited to design the piece as part of the overall look, with the eyewear conceived to belong to the outfit itself rather than function as an accessory or afterthought.
In their statement about the design, the Paloceras team added that there will be no commercial release of the catwalk frame itself, although elements developed through the project “may inform future work by Paloceras.” Above: the striking 3D printed couture frame, designed by Paloceras for Robert Wun – image courtesy of Paloceras.
www.paloceras.comThis feature was written by Clodagh Norton on 14th March 2026. All rights reserved.
Makras Optical, Brisbane: “make the eyewear the hero”
Eyestylist Exclusive – Special content x Eyestylist 15th anniversary – a conversation with Mike Makras
Makras Optical in Brisbane is the latest optical project by Mike Makras, one of Australia’s leading optometrists + luxury eyewear retailers with expertise in curating some of the finest contemporary eyewear collections from around the world. Eyestylist first spoke to Mike in 2011 about one of his award-winning OPTIKO stores at 215 Queen Street, an eyewear destination which set the bar high with its exclusive atmosphere and focus on exclusive and even rare vintage eyewear design (https://www.eyestylist.com/2011/08/optiko-brisbane/). In 2026, Mike expresses the same commitment to client service and optical excellence with a continued passion for eyewear curation and unique design, in a completely new architect-designed contemporary setting – the store is located on James Street where one of the OPTIKO stores was operating back in 2012.
Mike, it’s great to reconnect after featuring your store OPTIKO in August 2011. Thanks for getting in touch and tell us more about your latest project? After selling my previous 2 stores (OPTIKO) to a group and finishing my 3-year contract with them, I realised that there is a real lack of genuine small independent owned eyewear stores. The general public often assume certain practices are independent when, often in reality many are owned by large corporate groups. The level of care and personal attention a client receives in an independent practice can easily far exceed anything in a corporate setting. Community engagement is incredibly important, you have to be present and connected to the community around you. For me independence allows that. Small can be incredibly powerful. In many ways I think small is the future.
Explain the interior concept in a few sentences and highlight what you really wanted to achieve in this new project. I was incredibly fortunate to have the opportunity to re-open in one of my original OPTIKO spaces, when it became available again. That felt quite special. We kept the basic bones, but wanted to reinterpret it in a more mature and considered way. The brief to the architects – Richards & Spence (www.richardsandspence.com) – was simple. “Make the eyewear the hero.”
So the architect wrapped the entire store in a high linen curtain, which softens the space and creates a sense of quiet enclosure. The floors are finished in a mushroom coloured wool carpet and the reception desk is formed from a huge slab of muted pink and grey Patagonian stone that sits somewhere between quartz and granite, anchoring the space. Above: the interior of Makras Optical – in a gallery-like atmosphere, the eyewear is placed in transparent displays, which highlight the designs and colours
The display shelving now emits a very soft white glow from within, both above and below, which gently highlights the frames. We introduced brushed aluminium details and vintage burgundy leather Cassina Cab chairs for warmth and character, used as a highlight; the vintage burgundy leather Cassina cab chairs round things off. Mirrors play a big part as always.
In contrast the exam room is painted in an almost hyper-clinical “Severance” blue….admittedly I am obsessed with the show! I intentionally wanted the showroom and the clinical spaces to feel quite different, as their purposes are incredibly different. I love that contrast.
How have you created complimentary spaces for dispensing/styling and eye testing this time around? We introduced internal curtains within the showroom to create two separate dispensing areas. These allow for more intimate one on one consults. At the same time the curtains can be easily drawn back so the entire space opens up for client events (product launches, trunk shows etc) so the space is super flexible.
What has changed since you created OPTIKO ? What is different about curating collections now compared to in 2011? The customer today is far more informed and sophisticated and people have access to an enormous amount of information online, so transparency has become essential. What hasn’t changed though, is the value of converstaion and connection, taking the time to talk about the story behind the brand, the craft involved in building a frame, or the technicality of different lens designs and coatings. That dialogue is part of the experience for us.
Can you give us a taste of the independent brands/collections you are offering in store and how you curated these to achieve the ideal offer for your new store? For my customer I find it works best to have a spectrum from super classic and timeless, through to pieces that are unapologically avante-garde. But getting that balance right is crucial. The line up is always evolving; some of our current brands are: Thom Browne, Lapima, Cutler and Gross, Garrett Leight, Veronika Wildgruber, Anne & Valentin, Yoshinori Aoyama, Voa Collective…with more to come. So the collection is always shifting and evolving. That’s part of the fun.
What’s next Mike? The store is still quite young – less than 12 months old – so right now I’m simply enjoying watching it grow organically. I’m happy to let it evolve slowly and see where it goes. For me this feels like coming back to what I was meant to do.
Makras Optical, 9-19 James St, Fortitude Valley, 4006
An interview by Clodagh Norton / March 2026. All rights reserved.
AHLEM Eyewear’s Paris Collection, inspired by fine watchmaking
The new Limited Edition explores the engineering precision of fine watchmaking – guided by “architectural precision”
Produced in France, AHLEM releases the new models with its signature double-rim construction featuring hand-brushed and polished bevels which catch the light. These details are informed by the fine details and disciplined geometry of Calatrava watches, known for their pure lines and extraordinary technical virtuosity.
Like the balanced bezel and dial architecture of the classic watch, AHLEM creates two precisely milled circles fitting seamlessly together, articulating structure through proportion, contrast, and restraint. Each circle is sculpted from solid stainless steel to exacting dimensions, resulting in a structure of exceptional integrity. Above: AHLEM Paris designs are produced in Limited Edition batches of 600 units per colour
The beveled metal temples which also trace their origin to the language of classical watchmaking recall the elegant silhouette of Dauphine watch hands: finely faceted blades that capture light along the edge.Electro-dipped in 22k gold, the frames also achieve resilience and a refined character.
The V-groove lens channel allows the lens to sit seamlessly within the frame, while a concealed rim-lock system preserves structural stability without interrupting the purity of the line. Limited to 600 pieces per colour, the frames are available at selected stockists and at www.ahlemeyewear.com.
Images by Julien Deceroi – all rights reserved
LOFT 2026, NYC
The annual NYC showcase for all things creative in eyewear design, LOFT takes place in two locations – Chelsea Industrial and High Line Nine – from 5th to 7th March 2026
This year’s expanded edition of LOFT takes place from Thursday in the Chelsea / Hudson Yards District, NYC as part of Eyewear Design Week in the city. This event will offer a broad overview of the work of independent eyewear designers and a group of curated collections by brands which champion quality, craftsmanship and originality through technical and creative innovation.
LOFT is located at two venues this year, conveniently close together. Chelsea Industrial will feature over 100 labels, including Article One, Blackfin, Capote, Cutler and Gross, Dandy’s, Folc, Jean Philippe Joly and Ørrgreen Optics. High Line Nine will present 22 collections by brands which include Anne & Valentin, Blake Kuwahara, Hoffmann Natural Eyewear, Masahiromaruyama, FACE A FACE, theo and Press Eyewear – as well as lens company, Zeiss.
Eyestylist.com introduces a few of the beautiful frames we can expect to see at this year’s event, kicking off on Thursday:
Above: RES/REI from Italy will be returning to LOFT in 2026 (Chelsea Industrial); their new collection for women, produced exclusively in Northern Italy, offers their signature colourations and distinctive interpretations of classically inspired shapes. Model Muse represents a compact silhouette with a gently angular lower lens, designed to fit medium to small faces comfortably. Naturally versatile, it works especially well for small PDs and higher lens corrections. The colour mosaic adds depth and character. This palette is described as the ultimate expression of the RES / REI colour palette: a sophisticated play of transparencies meeting bold, contemporary contrasts. www.resrei.com
Anne & Valentin’s latest creations include KRAFTIES, inspired by the artistry of frosted glass, and the gentle passage of time. The concept is proposed as a celebration of the beauty of the unforeseen or unexpected, offering frames that are as much a pleasure to wear as they are to touch! Anne & Valentin will be located at High Line Nine. www.anneetvalentin.com
From Italy, Dandy’s latest collection evolves the silhouettes and colours of the classic Dandy’s style to bring a contemporary mood of lightness and fresh coloration. Known for the artistry of Italian craftsmanship and its particular characteristics of raw-textured finishes, the new collections move the brand into a new phase of design expression for Spring/Summer 2026. Dandy’s exhibits at LOFT at Chelsea Industrial. https://dandyseyewear.com/en/
Hoffmann Natural Eyewear (showing at High Line Nine) will present their mainline eyewear collections for men and women and their new collaboration range with iconic eyewear designer, Thierry Lasry. Describing the pieces as true “objets d’art“, these styles fuse Lasry’s design spirit of contemporary audacity with the artisanal know-how of the German company, Hoffmann, a specialist in working with natural buffalo horn and all the complexities of perfecting a finely finished luxury frame. www.hoffmann-eyewear.com
theo’s TUBES collection adds a new design twist for “petite faces with big ideas”. These frames feature acetate fronts with a compact design, made for adults with fine facial features, who wish to wear a frame with true character. At the centre of all the designs in this range is a visible round tube, a striking technical feature of the design, connecting both sides. Model Synae (above) is modular and clean – combining lines with rhythm and precision. There are 5 different shapes in the collection including round, square and a popular oval. theo is showing at High Line Nine. www.theo.be
Oversized silhouettes with curved lines and soft gradient lenses nod to the free-spirited, boho-inspired eyewear of the 1960s, entirely reimagined through MYKITA’s LITE construction and innovative powder-coated finishes. Ultra-slender 3mm temples and minimalist frames create a delicate, weightless feel, while the tactile surface treatment adds subtle depth and a playful, futuristic note. This collection, and several others from the German eyewear brand will be on show at High Line Nine. www.mykita.com
For 2026, ROLF includes new 3D printed frames in its sustainable Substance Aura line, where bright neon tones contrast with the natural dark tone of the background. The Substance Aura collection includes 11 models with 3 different graphic effects – colours or textures – and 7 colours. As always, the line brings together sophisticated hinge technology, high-quality materials and lasting comfort – ideal if you are wanting them for everyday wear.
For more information about LOFT NYC visit the LOFT website at https://www.lofteyewearshow.com
Yoshinori Aoyama: “a new perspective, beyond existing values…”
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.
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.
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.
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
This is an excluisve feature by Clodagh Norton at Eyestylist.com, published on 3rd March 2026 (AI has not been used). All rights reserved.