For VALOUR, his Spring–Summer 2026 haute couture collection, Robert Wun invited Paloceras to create eyewear that would be part of the look itself rather than an accessory added to it.

Paris Koutsavelis was in charge of the development alongside Alexis Perron-Corriveau, design director of Paloceras, translating the collection's sculptural language into a single object made for the face, from first sketches and 3D studies to print. Each piece was then produced and hand-finished at the Paloceras MicroFactory in Helsinki, in three colourways.

The eyewear walked as part of the dressed body during Paris Haute Couture Week in January 2026, a rare case of eyewear designed, made and hand-finished in Finland entering the haute couture calendar. It was made for the runway only, with no commercial release.

Origin Pantos – Constructed Mutation reinterprets the iconic Pantos silhouette through fragmentation and reconstruction. Rooted in a familiar archetype, the design explores the tension between familiarity and disruption, transforming a timeless form into a new structural expression.

The frame is broken apart and rebuilt around a 3D-printed titanium exoskeleton that suspends the lenses and redefines its architecture. Translucent resin volumes flow around the rigid structure, setting engineered precision against organic form. Exposed screws, visible intersections and layered materials hold familiarity and disruption in deliberate balance.

Inspired by modular engineering, exposed mechanical systems and advances in additive manufacturing, the project investigates the relationship between precision and organic mutation. The hybrid titanium and resin construction is not only a way of making the frame, but a way of generating a new architectural language for eyewear.

Designed in Spain. The titanium components are printed in France and the resin in Germany, then hand polished, post-processed and assembled in Spain. Origin Pantos – Constructed Mutation is an original creation by Paris Koutsavelis, co-founder of Flama Eyewear, developed in collaboration with Flama Eyewear.

Sasha is the first eyewear collection by French model and designer Clara Berry, produced with Visages and named after her son. Following Clara's original ideation, the project was shaped through vintage sportswear references and mid-80s speed culture, exploring streamlined, aerodynamic silhouettes.

The defining detail is functional: a detachable set of hairpins integrated into the temples. The bar slides out of the arm and doubles as a hair clip, so the frame becomes two objects in one. Paris Koutsavelis led the design development, turning the first sketches into a wearable, printable frame.

The frames are 3D printed on demand in Europe with a zero-waste process, lightweight and durable. The collection launched in January 2026 with a pop-up in Paris, in four colourways, sold exclusively online at Visages.

Cortex is a collaboration between Paris Koutsavelis and the French eyewear brand Parasite, known for its futuristic, body-hugging frames. The brief was to push that language further, to the point where the frame stops reading as an accessory and starts reading as an organism.

The structure is drawn from bone: an open, branching skeleton that climbs from the lenses over the brow and anchors itself to the face, like an alien creature rooted in the skin. Futuristic in its making and primitive in its anatomy.

The frame is sculpted entirely through 3D printing and made to order, in two versions: C01 black with matte grey lenses, and C02 black with gold lenses.

Exuva takes its name from exuvia, the shell left behind after metamorphosis. Created with Polish 3D artist Ada Sokół, it is a butterfly caught mid-transformation, a fitting form for Paloceras, whose name comes from Rhopalocera, the butterflies.

The frame is DLP printed in matte translucent resin around a single continuous visor lens, with 925 silver hardware. From each temple tip hangs a charm like an earring: a star, a heart or a flower, drawn from Ada's jewellery universe and chosen by the wearer.

Exuva launched in June 2026 with an immersive, cocoon-like installation by Ada at PURO Warszawa Stare Miasto in Warsaw, a greenhouse of light, sound and flora built around the collection. It is made to order at the Paloceras MicroFactory in Helsinki in Green and Burgundy.

Nexoris is a creature caught mid-leap. The frame reads as something grown rather than made: limbs that reach back along the temples, a body that wraps around the eye, and surfaces that never break their curve.

It was shaped through digital modelling for uninterrupted curvature, then printed in high-definition DLP photopolymer, a liquid resin cured with UV light, and finished to a matte, almost porcelain-like translucency. The material is stable, durable and safe against the skin, certified to ISO 12870.

Nexoris comes as three creatures. Umbra: brown with earth-brown lenses, dark soil and shed skin pressed into form. Venum: green with deep aquatic blue lenses, clarity with something dangerous beneath the surface. Amphibae: pink with cotton-candy lenses, sweetness as a lure. Every pair is made to order at the Paloceras MicroFactory in Helsinki.

Hydroceras sets out to capture the movement of water and hold it still just long enough to be worn. The frame reads as a single liquid gesture: surfaces that swell, thin out and flow around the eye without a hard edge.

Each frame started as a sculptural idea modelled by hand, then refined in SubD geometry into continuous, uninterrupted surfaces. Working with Paloceras design director Alexis Perron-Corriveau and a team of designers and optometrists, the forms were tuned until they were as precise and wearable as they are sculptural, balancing organic curves with industrial precision.

The frames are 3D printed in high definition in translucent resin with a matte finish, then hand-finished at the Paloceras MicroFactory in Helsinki. The collection launched in September 2025 and now comes in eight colourways, from the icy translucent blue of Cryosea, inspired by frozen oceans and the crystalline flow beneath their surface, to the night-grey of Noctyra.

MRS® is a technical system for Flama Eyewear: a modular, repairable architecture that treats a pair of sunglasses as something to maintain over years rather than replace.

Each frame pairs a cellulose acetate front with stainless steel temples, joined through a modular hinge so the parts that wear or break can be exchanged one by one. The same system runs through the whole MRS® range, five models from FLM11 to FLM15, each in five colourways, and is backed long term by Flama's Service Artefact® programme.

Psy is LAB 001, the first piece of FLAMA LAB, the experimental collection of Flama Eyewear. It was conceived less as a product than as a special-edition cultural artefact: a sun frame that pushes the brand's language into neo cyber-punk territory.

The frame is drawn as a set of sharp, flame-like forms that wrap the face around a mirrored lens. It is produced to order by SLS 3D printing in Nylon PA12, in two finishes, Carbon and Dune.

I had the opportunity to design a unique eyewear piece for R&D purposes for the creative team at Monogrid, a digital boutique agency, specialized in immersive technology and experiential marketing.

Form of Feeling abstracts the heart into a minimal loop, fluid yet constructed. Its form is deliberately distorted, sitting somewhere between shape and emotion.

A statement piece with a quiet intent. Each ring is cast in silver, hand polished and made to order in your size, with a production window of one to two weeks.

A skeletal contour, almost anatomical. Form of Trace carries the outline of a skull without ever fully becoming one.

It works quietly, through habit and repetition, like a vice that leaves its imprint without asking. Each ring is cast in silver, hand polished and made to order in your size, with a production window of one to two weeks.

Form of Decay is shaped like the remains of something once alive: a husk, its geometry echoing the stem of a thorn.

It opens the Decay and Bloom cycle, the first half of a pair that moves from what withers to what opens. Each ring is cast in silver, hand polished and made to order in your size, with a production window of one to two weeks.

Form of Bloom resolves the tension of Form of Decay. At its centre sits a rhodolite garnet, the flower fully open.

It closes the Decay and Bloom cycle. Each ring is cast in silver, hand polished and made to order in your size, with a production window of one to two weeks.

Form of Order is shaped by the geometry of a cross. Its design reflects systems, symmetry and the discipline of structure.

Precise, balanced and intentional in every line. Each ring is cast in silver, hand polished and made to order in your size, with a production window of one to two weeks.