In the eyewear industry, sustainability is akin to a car speeding along a modern highway: swift, well-engineered, and marked by milestones of tangible progress. Over recent years, the sector has made significant strides, proving that innovation, respect for the planet, and a love for nature can coexist seamlessly. Eco-friendly materials, recycled acetates, regenerated metals, and production processes designed to minimise environmental impact – without compromising beauty – drive a vision infused with technical expertise, ingenuity, and abundant creativity. These skills shine through the practice of upcycling, a production model gaining ground amidst economic complexities and environmental opportunities. The method prompts a radical question: can what has been discarded still hold value, and more crucially, can it still be desirable? In eyewear design, the answer is a resounding yes. Breathing new life into waste materials or obsolete frames is the next frontier – a niche phenomenon gradually expanding through creative recovery. Echoing philosophies such as wabi- sabi, upcycled eyewear proudly celebrates its origins rather than concealing them. The creations carry a material memory that translates into a unique aesthetic language. Imperfections and variations in texture or colour become distinguishing details, symbols of authenticity, inviting us to view the world through a different lens – one that values hidden potential.

An exemplary project is the Morph Alpha frame, crafted by Brussels-based artist and designer, Clara Besnard in collaboration with French brand Parasite and the vintage eyewear store Bidules in Brussels. United by a shared commitment to energising the industry and steering it towards a better alternative future, they created a striking design blending avant-garde and retro influences, awarded the Silmo d’Or – prix Special du Jury in September 2024. Tentacular and intricate, Morph Alpha is handcrafted using fragments of a past that refuses to be forgotten: vintage Parasite frames, acetate from the 1970s and 1980s sourced from Bidules' workshops, and spare parts are integrated into a structure that is both sculpture and functional object. This, perhaps, is the deeper message. In a world pushing for mass production and standardisation, creations like this remind us that uniqueness is a form of rebellion. Choosing something with a story affirms individuality and defies convention.

There are, furthermore, brands that have built their identity entirely around upcycling, anticipating what has now become a consolidated movement. In 2000, when the concept was still futuristic, Vinylize crafted its first pair of glasses using a Creedence Clearwater Revival record – hand-etched and paired with hinges repurposed from cigar boxes. The progressive choice laid the groundwork for a disruptive vision, now evolved into the new Vinylize Cyklo collection launched in January 2025. Constantly searching for alternative, readily available materials to create durable and iconic eyewear, Vinylize turned its attention to bicycles – a symbol of freedom and motion since the early 1900s. With over  26 million bicycles produced annually and more than 43 million metres of brake cables generated by the cycling industry, the potential for upcycling is vast. Cyklo pays homage to this dynamic world that has connected generations and lifestyles. The innovation lies in the temples, made from a hypoallergenic composite material derived from bicycle brake cables. True to its passion for vinyl, Vinylize incorporates its signature grooved material into each model. The traditional connection to vinyl is further reflected in the collection's tribute to Queen: Cyklo draws inspiration from the iconic ‘I Want to Ride My Bicycle’, composed by Freddie Mercury in 1972 – a manifesto of freedom, energy, and rebellion that perfectly embodies Vinylize's bold design ethos.

Komono, too, contributes to this green revolution with its usual flair. The eyewear in its 2025 collection, crafted entirely from acetate made of leftover scraps from industrial production (except for the lenses), exemplifies how creative recovery can transform industrial waste into sophisticated design. The series' theme, ‘space,’ draws inspiration from the metamorphosis of water in the universe, translating its fluidity into the sinuous lines of the frames. Models are named after a word for water in different languages: Ilma (Maltese), Amane (Japanese for the sound of rain), Su (Turkish), and Omi (yoruba). The references underscore the power and purity of water, which, like upcycling, has the ability to transform and regenerate, unlocking new possibilities.