By chance, in 1921 Man Ray invented the Rayograph, which became the hallmark of his photographic art. Images created without the use of a camera, simply by placing objects on sensitive paper and using light as an interference. The final effect was decidedly surrealist. These factors are reflected in the glasses by an abstraction of the construction elements that appear and disappear, becoming almost a framework with an organic appearance, like the rimless O01 model (in the opening photo) that is part of the Innerraum Eyewear Objects capsule collection. Made in Italy by the Berlin-based luxury accessories brand, only 60 pieces per colour are available and feature a triple metal bridge, multiple top bar screws and adjustable titanium nose pads.

Also in model KL516S02 K-Sun Kartell Eyewear by the recently deceased architect and designer Rodolfo Dordoni, the fluid, tubular metal structure takes on an organic appearance and becomes almost insubstantial, thanks to the rimless lenses illuminated by a light mirror. More and more light interacts with the glasses, creating remarkable phenomena that are, once again, reminiscent of Man Ray's famous solarisations. An example of this is the Gucci GG1723S model where the colour transforms, itself transforming the surface of the frame and continually redefining the emotional and visual impact of both the wearer and the beholder. Accessories or works of art? There is doubt. A legitimate doubt that also applies to Alexander McQueen's bold and futuristic AM0489S Two-Tone model, a frame that reveals an intricate injected frame. To reinforce the identity of the brand, the original lettering, created by Lee Alexander McQueen over thirty years ago, was also revisited for the logo of the new A/W 2024 collection.

In model KZ40197U from Kenzo's Boke Flower collection, the exact opposite happens: a distinctly graphic metal structure overlaps the rimless lens, almost conjuring up the simulacrum of the cat-eye shape. Real, unreal or maybe just a surrealist accessory? Engraved on the temples are two Boke flowers, a new symbol chosen by creative director Nigo who continually draws on the heritage and "joie de vivre" of Kenzo Takada. Revealing the innermost soul of the objects, through sophisticated architecture and an ever-present and essential touch of light, is also the challenge of glasses that become poetic, empathetic, turning into narratives, blending in with landscapes. It is no coincidence that a Valentino sunglasses model is called V-Soul II, where the soul is perceived through the large, semi-transparent acetate frame and the liquid, elusive colours. They are most definitely objects born of profound insights, intuition, but most importantly inspiration because, as Man Ray said: "Personally, I have always preferred inspiration to information".