Selin Olmsted
INVISION: Your trend and materials reports have become a go-to resource across the eyewear industry. What innovations or shifts in materials, sourcing, or sustainability are you most excited about right now?
SELIN OLMSTED: Materials: Driven by the Ultralight trend, High Density Acetate is seeing major momentum. Manufacturers are now offering more mono solid colors & havanas in varied transparencies. In metals, titanium and beta-titanium are dominating—lightweight, hypoallergenic, and naturally flexible for a better range of fit. 3D-printed fronts paired with titanium temples are also gaining traction, offering sculptural freedom with minimal weight.
In plastics, bio-based TR90 remains present. On the sustainability front, many brands are favoring options that are easier to communicate to consumers, like bio acetate (made with bio-based plasticizers) or acetate renew (crafted via molecular recycling), instead of both on the same product.
Manufacturing innovations: The press mold technique has dramatically improved, allowing us to achieve sculptural volumes in acetate—previously only possible with injected plastic. Multi-color lamination technology, especially in Shenzhen, [China], has also advanced, now enabling complex 3–6 color layers and deeper visual effects.
INVISION: You’ve collaborated with forward-thinking partners like Meta. How do you see technology—like AR, smart eyewear, or digital prototyping—reshaping the way designers create and brands develop product?
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OLMSTED: Tech like AR and smart eyewear is redefining how we design and develop frames. Designers are now working around components like buttons, speakers, and sensors—merging aesthetics with UX. It also requires closer collaboration with engineers, as we adapt to new materials, construction methods, and measurements to house tech inside the frame.
For brands, it opens the door to strategic partnerships—not just with tech companies, but also with sports and gaming industries. It’s a shift that separates traditional eyewear from those positioning themselves as innovation leaders. As eyewear becomes more interactive, we may even start replacing some behaviors—like reaching for our phones—with simply putting on a pair of glasses.
This evolution will also impact opticians and optical retailers. They’ll be working with new lens types and frame specifications, which may require updated equipment in labs or in-store. Frame adjustments will become more complex as tech components are embedded into the fronts and temples. We’ll also see a need for more personalized fittings, deeper conversations about lifestyle and ergonomics, and training around showcasing and demonstrating these products. Merchandising will evolve too—stores will need to rethink how smart eyewear sits alongside traditional frames.
It’s a whole new ecosystem—from design and production to how eyewear is sold, adjusted, and experienced.
INVISION: As we head toward 2026, how do you think global events—from tariffs to supply chain instability—will affect trends in design and materials? Could these disruptions actually drive innovation?
OLMSTED: As we look ahead to 2026, there’s no question that global instability—from rising tariffs and supply chain disruptions to social and environmental breakdown—is reshaping how we create. And while it’s uncomfortable, it’s also pushing us somewhere new.
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Tariffs remain a major hurdle. With roughly 39% in total tariffs and duties on Chinese goods, brands are under pressure to either raise retail prices or shift sourcing to diversified-tier factories just to stay viable. Unfortunately, it’s us—the American consumers—who ultimately feel that impact, whether through increased prices or compromised quality.
But these disruptions aren’t just logistical—they’re emotional. We’re living through a period of collective fatigue, grief, and uncertainty. And in response, design is softening. There’s a craving for tactility, warmth, and comfort. You see it in the rise of neutral tones, sculptural silhouettes, hearty textures, and layered acetate colors. It’s not just a trend—it’s emotional survival. People want to feel held.
This pressure is also forcing designers and brands to think more locally, more intelligently, and more intuitively. We’re rethinking what materials are worth, what silhouettes bring comfort, and what it means to create something lasting—physically and emotionally. There’s a return to structure, to instinct, to what feels grounding and human.
That’s also where the creative instinct kicks in—not just to innovate technically, but to design with emotional clarity. To create a product that soothes, protects, or simply makes someone feel special, desired, and genuinely valued.
We’re also seeing a rise in fantasy and nostalgia. Fantasy offers escapism—something that feels good, joyful, or otherworldly in contrast to the heaviness of reality. And for Gen Z, vintage culture holds particular meaning: many feel our current times pale in comparison to previous decades. That longing brings renewed relevance to retro patterns, archival palettes, and the emotional depth of vintage frames.
This opens up fresh opportunities in eyewear—whether it’s revitalizing retro color stories or reimagining how vintage pieces can be refurbished and reintroduced with new meaning.
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So yes, disruption is hard. But it’s also where the most honest, resonant, and meaningful design begins.
INVISION: You’ve recently experimented with a full-package model that includes sourcing and production. What did you learn from that experience, and how do you think independent brands can benefit from similar vertical integration?
OLMSTED: Yes, that is correct. We recently stepped into a full-package model—handling everything from design and product development to sourcing, production, and even importing. It started as a way to fully support a client whose vision we believed in, and it taught us a lot.
One key takeaway for our team is that design decisions can’t exist in a vacuum. Every choice—from materials to details—should consider downstream factors like production feasibility, brand positioning, pricing, and logistics. When those pieces are aligned, independent brands can create not only more meaningful products but more financially viable businesses.
We also learned that with deep involvement in each step, it’s possible to deliver the highest perceived value for a given retail price point. This is something that’s genuinely important for our studio. There are beautiful products on the market—but there are also many that don’t reflect their price in terms of workmanship or material quality. Vertical integration helps close that gap.
Of course, the risk is real—we own the goods until they’re shipped to our client, which means we’re fully accountable to our manufacturers. But the tradeoff is end-to-end visibility: it allows us to guide each phase thoughtfully and collaborate closely with our material, manufacturing, and QC partners.
As a final note, I love the idea of co-creating eyewear with brands or individuals outside the eyewear industry—like a leather shoe brand, a jewelry label, or others. They bring a completely fresh perspective to the process, and I find that incredibly inspiring.
INVISION: What voices or companies—inside or outside of eyewear—do you find most inspiring when it comes to innovation, creativity, or long-term thinking in design?
OLMSTED: Fashion: I’m inspired by people who’ve built distinct creative worlds—like Michelle Lamy & Rick Owens, Rei Kawakubo from Comme des Garçons, Miuccia Prada, Jonathan Saunders, Phoebe Philo and Bode. Their clarity of voice and subversiveness really stand out.
Music: Kendrick Lamar for his unmatched creativity across lyrics, storytelling, visuals, and mood. I also find a lot of inspiration in the underground electronic music scene—especially the new generation of DJs and producers pushing boundaries with sound and experience.
Companies: Lately, I’m drawn to the energy coming from performance-driven brands—especially in running and outdoor gear. Companies like @maap.rides, @banditrunning, and @roahiking are blending utility, style, and storytelling in exciting ways.
Culture & Photography: I find the work of @cesxcommercial, a visual artist from Istanbul, incredibly inspiring. He captures the soul of his home city and remixes it with modern, almost surreal touches—like sports logos or car culture dropped into everyday life.
Inside Eyewear: The craftsmen we collaborate with in China and Italy continue to inspire us deeply. Their skill is the result of years—often decades—of precision and dedication. Being close to them, learning from them, and growing alongside them has shaped who we are as designers. We genuinely hope the trade wars come to an end. We have deep respect for these makers and simply want to continue creating extraordinary eyewear with them for our clients.
Note: Check out our profile of Selin and other innovative people, places, and products in the lead article of INVISION’s June issue.
