BEYOND CONCEPTS, INTO PRACTICE

One of the most dynamic spaces at SILMO Paris was the ‘Futurology and Village Tech’ section, now firmly established as the bridge between research and practice. Once a playground for start-ups, it has matured into a serious launch pad for market-ready solutions.

The theme of artificial intelligence (AI) dominated the space. AI-driven frames from Chinese startup GetD, capable of translating conversations, coaching wearers in real time, and providing instant information about what the user sees, rely on discreet cameras – raising, of course, the question of how the industry will address the privacy concerns surrounding this technology.

Health and wellbeing have emerged as the next frontier. Smart eyewear is advancing beyond connectivity to support nutrition tracking, mindful eating, stress detection, and even the early identification of mental health signals – as demonstrated by emteq labs, a UK startup preparing to launch its groundbreaking new eyewear. For practices, AI-driven tools – from self-guided refraction to facial scanning and training simulators – promise to redefine the patient’s experience and streamline clinical workflows.

On tour in the Futurology and Village Tech section.

But with opportunity comes change. Electronics bring tighter margins and new service models. Optometrists will need to rethink after-sales care, pricing, and positioning as customers embrace glasses that are as digital as they are beautiful.

“Technology is no longer a curiosity at the edges of our industry – it’s becoming a tool that will define how we practise, sell, and serve patients in the next decade,” explained Sébastien Brusset from Visages, an innovative technology-focussed eyewear company, who led the Futurology Tour.

SUSTAINABILITY GAINS MOMENTUM

Beyond technology, corporate social responsibility (CSR), and circularity were strong themes throughout the fair. The ‘CSR Focus – Good Eye on the Planet’ program, developed with Hyssop, a French consulting agency specialising in sustainable strategy for the eyewear industry, provided practical frameworks for eco-design, responsible purchasing, and internal engagement. The Committed Company Award recognised businesses translating sustainability into action, with this year’s winner, local to France, Friendly Frenchy, honoured for creating materials and products from natural, recycled, and innovative sources, while prioritising inclusive partnerships and local collaboration.

STYLE AND STORYTELLING AT THE CORE

While technology and sustainability drew headlines, SILMO’s soul remains style. The SILMO Trends Forum once again served as an immersive mood board, curating the colours, shapes, and textures shaping tomorrow’s frames, predicting the four following key trends:

• The return of reinvented icons,

• The quest for lightness and serenity,

• A charismatic and assertive allure, and

• The energy of exploratory graphics.

However, the real stories unfold on the floor, where customers, designers, and distributors meet face-to-face. From century-old Parisian workshops to Californian creatives and bold new European independents, every conversation offered a glimpse of how eyewear’s future will be made – and worn. mivision met with some of the creative forces behind some highly coveted brands available in Australia.

LAFONT: PARISIAN HERITAGE WITH A MODERN SPIRIT

Catching up with the Lafont team in Paris felt like stepping into a living chapter of French eyewear history. Still proudly family-owned and fiercely independent, Lafont has spent more than a century refining the art of handmade frames while keeping its collections accessible and relevant. The brand, which is distributed in Australia by Frames Etcetera, is built on an extraordinary library of acetate – some of it decades old – that the team upcycles into new materials. By blending unused or discontinued stock with 50% fresh acetate, it creates unique colourways and patterns that can only be produced in limited batches.

Lafont’s offering is cleverly tiered: Lafont Paris, exclusively for women and unapologetically colourful; La Collection, which mixes heritage shapes with refined architectural details; and a more accessibly priced line for first-time Lafont wearers – all produced in the same Parisian workshop. This approach means practices can offer styles ranging from bold and glamorous to quietly classic, without losing the brand’s chic Parisian DNA.

LINDA FARROW LUXE: FOR THE EMPOWERED WOMAN

Few brands embody the evolution of eyewear as both fashion and craft quite like Linda Farrow Luxe, which is distributed in Australia by Kami Distribution. Founded in London in 1970 by Linda Farrow – a true pioneer who transformed sunglasses from a medical necessity into a fashion accessory through collaborations with houses such as Balenciaga and Yves Saint Laurent – the brand was relaunched in 2003 by her son, Simon Jablon.

The SILMO sustainability round table.

“Our mission is to elevate and empower,” Simon explained. “We’re probably the only truly luxury, female-orientated eyewear brand. Our customer is looking for something unique – something that makes her feel special, confident and individual.” About 70% of the brand’s audience is female, a focus that sets it apart in a market where many luxury labels lean heavily male.

Every pair of Linda Farrow Luxe frames takes 22 months to move from concept to store. The brand works with master Japanese artisans, uses pure titanium and gold plating, and invests weeks in polishing and perfecting weight balance, ergonomics, and comfort. “You can’t rush quality,” Simon told mivision. “Luxury is in the fine details – the feel on the face, the balance, the way the frame just fits.”

Simon Jablon from Linda Farrow Luxe.

Lorena Serrano, founder of Nina Mûr Eyewear.

Nina Mûr frames.

The latest collection, Office Hours, channels the energy of the empowered, self-made woman – borrowing cues from 1980s power dressing yet rendered with timeless modernity. Aviators, which Simon predicts are “back with a vengeance”, feature strongly alongside elegant, oversized shapes, and meticulous finishing.

NINA MÛR: BESPOKE SPANISH CRAFT

Meeting Lorena Serrano, Founder and Creative Director of Nina Mûr is like stepping into the creative workshop of a designer who refuses to follow convention. Raised in a family of optometrists in Madrid, Lorena grew up surrounded by frames and the realities of retail. “I wanted to create a collection that was truly personalised and sustainable, without giving up creativity,” she said.

Nina Mûr’s frames (distributed in Australia by ProOptics) are handcrafted in Madrid using sustainably sourced wood laminates – a material Lorena chose for its lightness, strength, and flexibility in design. Unlike mass-market production, every frame is made to order: optometrists curate a wall of sample models, then customise for their clients, adjusting colours, temple lengths, and details such as nose pads. “We don’t hold stock. Each pair is built for the person who will wear it,” Lorena explained. This approach allows Nina Mûr to remain nimble, creative, and sustainable, while offering technical precision that suits even complex prescriptions. “We have customers wearing minus 15 lenses beautifully in our frames,” she added.

Paloceras Founders Mika Matikainen and Alexis Perron-Corriveau and Paloceras frames (below).

The latest capsule collection, Lumes, plays with organic geometry – Bauhaus-inspired lines contrasted with Memphis-style colour pops. Thin architectural rings, sculpted bridges, and playful silhouettes make each piece feel like wearable art. “I don’t follow trends,” Lorena said. “My inspiration comes from art and design. I prefer to create a brand’s own essence rather than chase what’s fashionable.”

SHELTER AND PALOCERAS: BOLD NEW ARRIVALS

ProOptics continues to curate some of the most original, design-driven eyewear for Australian independents, and two of its latest finds – Shelter and Paloceras – could not be more different.

Shelter is 100% made in France and was born from the world of interior and product design rather than traditional eyewear. Its founders, originally creators of high-end materials for home and décor, have translated that sensibility into frames with striking architectural lines, unexpected material mixes, and remarkable comfort. “It’s a completely different aesthetic that you won’t find in any other brand because they don’t come from an optical background,” explained the team behind its introduction.

AHLEM Founder Ahlem Manai-Platt.

At the other end of the creative spectrum is Paloceras, a Finnish-born, Lisbon-conceived label founded by industrial designers Mika Matikainen and Alexis Perron-Corriveau. Originally an e-commerce start-up, the pair pivoted to bring their sculptural, futuristic eyewear to the trade market. Frames are manufactured in Austria with advanced 3D-printing capabilities, enabling lightweight yet expressive shapes such as round, aviator, and diamond silhouettes. “We wanted to create something without the physical limitations of traditional eyewear,” said Mika. The result is distinctive, forward-thinking eyewear for those seeking a more individual and design-led expression.

AHLEM: PARISIAN PRECISION WITH A CULT FOLLOWING

Paris-based AHLEM has spent the past decade refining a vision that sits at the intersection of quiet luxury and modernist design. Founded by Ahlem Manai-Platt, a former fashion insider with experience at Acne Studios, the brand has built a reputation for its architectural yet effortless frames – eyewear designed to be worn, not simply admired.

Every AHLEM frame is crafted in France using premium Mazzucchelli acetate and custom metal detailing, resulting in pieces that feel precise and tailored while retaining a distinct Parisian ease. At SILMO, the collection was presented with understated confidence, focussing on hero pieces rather than overwhelming visitors with breadth. “It’s about intentionality – every design has a reason to exist,” Ben Walters from Proper Goods, the Australian distributor of AHLEM, explained.

AHLEM has also built a strong cultural presence – worn by artists, architects and designers who appreciate its intellectual cool factor. The brand’s limited-edition gold-plated pieces, released to mark its 10-year anniversary, have become collector favourites, and its discreet distribution keeps it desirable among design-conscious customers.

Julien Fritz and Ben Walters from Proper Goods.

CALIFORNIA’S GARRETT LEIGHT

Garrett Leight California Optical (GLCO) brings a West Coast sensibility to timeless eyewear design – blending heritage, craftsmanship, and laid-back sophistication. Founder Garrett Leight grew up immersed in the optical world as the son of Larry and Cindy Leight, creators of Oliver Peoples. He spent years learning every side of the business – marketing, retail, production, and merchandising – before opening a small shop in Venice, California, selling vintage Oliver Peoples pieces. Observing how customers responded to that product inspired him to create his own label.

From its first collection, GLCO has stayed true to classic silhouettes refined for today’s wearer – clean, modern shapes with subtle Californian ease. A defining milestone came with the decision to move all manufacturing to Japan, widely recognised for its precision and uncompromising quality. “It’s about delivering the best value in the market – Japanese-made product, incredible quality, at a fair price.”, explained Ben from Proper Goods.

Alongside the main collection sits Mr Leight – a more ornate, elevated line co-designed by Garrett and his father – marrying intergenerational design knowledge with the artistry of modern Japanese production.

L.G.R: A STORY OF HERITAGE

Some brands are born from a factory; L.G.R was born from a story. Founder Luca Gnecchi Ruscone grew up surrounded by his grandfather’s legacy in Eritrea, where during the 1930s and ’40s his family ran Photo Beccani, a business importing Kodak and Leica cameras and later manufacturing rubber sandals that became an icon of Eritrean independence. In 2002, Luca returned to Asmara with his grandfather and discovered drawers filled with untouched vintage frames – beautiful 1940s Italian-made eyewear that with thick acetates, fire-embossed logos, and mineral lenses that his grandfather had sold. “It was something incredible,” Luca recalled. “I thought, if I can recreate this story – authentic Italian craftsmanship with real heritage – it will resonate.”

Luca Gnecchi Ruscone, Founder of L.G.R.

Determined to honour that history, Luca spent years tracking down the original artisans in small northern Italian towns. Factories initially told him his specifications – 10–12 mm acetates, old fire-embossing techniques – were impossible. But persistence led him to Bruno, one of his grandfather’s former employees, who reintroduced him to the original craft. From there, L.G.R was reborn, handmade entirely in Italy and infused with a sense of quiet adventure.

Distributed in Australia by Proper Goods, the collection today balances heritage and modernity. Core models reference African cities – Casablanca, Asmara, Marrakesh – while new designs evolve subtly to stay relevant for a younger, design-savvy audience. L.G.R’s appeal lies in its authentic story, meticulous Italian production, and understated luxury, attracting those who value craft over logos and narrative over hype.

RES / REI: ITALIAN COLOUR MASTERY

Italian label RES / REI brings a vibrant, contemporary edge to fine eyewear while staying grounded in meticulous craftsmanship. Founded by industrial designers, the brand approaches eyewear as an object of design first, blending architectural simplicity with unexpected colour play. “Their shapes are typically clean and easy to wear, but the way they layer and compose acetate makes each frame feel fresh and unique,” explained Ben Walters from Proper Goods.

RES / REI is deeply committed to Italian manufacturing excellence. The company has invested in its own production line in northern Italy, allowing it to control quality and experiment with advanced acetate techniques. Frames are built from custom-blended acetate sheets that combine multiple colours – sometimes stripes of tortoise, gradient reds, greens and translucent tones – which are fused, cut, and re-cut to create striking yet wearable finishes. This technical approach keeps the frames lightweight, balanced, and comfortable, while maintaining vivid colour expression.

RES / REI eyewear.

Nieves Rojas from EssilorLuxottica.

Maria Elena Vandone and Anna Neri, Founders of Eyesonoff, with Serena Torrisi, part of the Eyesonoff creative team.

The ANY DI sunglass holder range.

REDEFINING SMART EYEWEAR

The EssilorLuxottica stand at SILMO Paris 2026 was a true showpiece – a sleek, immersive installation wrapped in giant screens playing cinematic brand stories and buzzing with activity throughout the fair. Two standout launches captured the industry’s attention: the Nuance hearing-assist frames and the next-generation Oakley Meta smart eyewear.

Nuance represents a major step in integrating hearing support into everyday eyewear. Classified as a Class II medical device, the frame discreetly houses six microphones and two speakers that use air and bone conduction to improve hearing for people with mild to moderate impairment.

Alongside Nuance, the newly launched Oakley Meta series builds on the success of Ray-Ban Meta, combining AI-powered voice control, cameras, and real-time translation with Oakley’s sport-driven design DNA.

ACCESSORIES THAT SURPRISE AND DELIGHT

Beyond the frames, SILMO’s aisles delivered small but brilliant design ideas that can transform everyday eyewear use. Accessories have always been part of the culture in Paris, but this year there was a clear emphasis on function-meeting fashion.

Italian start-up Eyesonoff drew constant attention with its patented magnetic eyewear chain system – a fresh rethink of the classic glasses chain. Co-founders Elena and her business partner have reinvented the idea entirely: lightweight, nickel-free aluminum chains that use an ingenious hidden magnet to secure glasses when not worn.

Elsewhere, ANY DI from Germany presented playful multi-functional designer bags with built-in sunglass holders.

WHERE THE FUTURE TAKES SHAPE

There’s something undeniably French about the world converging in Paris to talk about eyewear. SILMO feels less like a trade fair and more like a cultural moment – a living reflection of France’s love affair with optical.

At this September’s fair that spirit was unmistakable. Everywhere you looked, there was movement – frames gleaming under bright lights, vigorous conversations, an industry clearly looking to the future.

“It’s not only about selling glasses,” said Elena from Eyesonoff. “It’s about inventing, imagining, and giving people new ways to live with what they wear.”

For anyone serious about the business – or the art – of eyewear, SILMO isn’t optional. It’s the pulse of the industry, where ideas are tested, partnerships are forged, and inspiration takes physical form.

SILMO returns to Paris in 2026 from 25–28 September.

Maren Carson is the Head of Partnerships at mivision and has an extensive background in optical distribution. Her visit to SILMO was sponsored by the SILMO organisers.