By comparison, Balenciaga’s approach felt much more direct, subjective and maybe more emotion driven. I presented 5–6 proposals, and Demna and his team immediately dismissed all but one, which stood out for its unique negative, concave shape—a feature they said they’d never seen in eyewear before. That concept, initially named “Concave” for lack of a better term and later known as Balenciaga Infinity, underwent a few iterations to fine-tune the extremity of its shape and optimize details like the arm design. However, the final product stayed remarkably true to the initial expression, which isn’t always the case. I also noticed how much my background in automotive and aerospace design helped, particularly in mastering complex surfacing and 3D modeling. These skills seemed less common in fashion, but at the same time, fashion is far more experimental and less constrained by convention, which was incredibly inspiring. Ultimately, I’m grateful for the opportunity—it was a reminder of how different industries can offer unique strengths and approaches to creativity.

These sunglasses seem to blur the line between accessory and armor. Do you view them as an extension of the wearer’s personality, or as a protective shield against the world?
Funny you say that, because I’ve always thought of them as facewear—more like a face shield, half-helmet, or mask than a traditional accessory. There’s something intriguing about altering the expression of the face, adding an element of mystery or anonymity. A movie that often comes to mind for me is Eyes Wide Shut—there’s a fascinating tension in how masks create both concealment and intrigue, which I think relates well to eyewear design. It’s about enhancing or reshaping how the wearer is perceived, almost like telling a story through the silhouette and form. As a big sci-fi fan, I naturally draw a lot of inspiration from futuristic helmets and advanced equipment and armor. It just resonates with me. That said, it’s not about directly copying the complex, technical aesthetics of sci-fi but rather extracting the essence—distilling it into something cleaner and more timeless. I aim to capture that futuristic attitude while keeping the design refined and instantly recognizable.

Selecting materials for such a striking design must have been a meticulous process. How did you strike the balance between durability and wearability while staying true to your vision?
Yes and no. While there is definitely a balance to strike, the process of selecting materials can sometimes feel like a back-and-forth between what is possible and what Is being envisioned. When I first started designing eyewear for Balenciaga in 2021, I learned a lot about the intricacies of working with custom pieces. These designs often push beyond the constraints of mass production and cost-efficiency, which gives you more room to experiment with materials and processes. As an independent designer, the challenge lies in finding ways to create designs that are not only functional and durable but also true to the vision and expression you’re aiming for. Unlike established brands, there’s no vast network or access to expansive production processes, capital, or resources. The constraints are real, but they also drive a more focused, lean approach. Without the layers of decision-makers, you have the freedom to be highly efficient—every decision is yours, and you can move quickly without waiting for approvals or coordination with multiple departments. While it can be limiting at times, this agility allows for a direct, hands-on approach to design that I value deeply.
Polyurethane molding works well for creating intricate forms and complex surfacing, but I’m always exploring more experimental materials and techniques to push the designs further. While material limitations can be challenging, they also fuel creativity and focus. Surface treatments like satin, mirror, gradient, and opaque finishes, along with PVD for a reflective quality, play a key role in the design’s expression. Durability is crucial, so utilizing Cerakote coating for protection is a good way to go. I’m also intrigued by materials with unique properties—soft, inflatable, or adaptive—that could unlock new possibilities in eyewear. The future of material science is exciting, and I’m eager to see what new technologies and methods emerge.

Your work is bold, unapologetic, and highly experimental. Do you believe that design should provoke as much as it solves problems?
Yes, I do. It’s important to push the boundaries, be a little uncomfortable, and even go too far at times—because it’s through provocation that we evolve and find new ways of expressing ourselves. By challenging expectations, we drive development, discover new aesthetics, and ultimately expand how we think and create.

When creating something so visually striking, how do you navigate the line between functionality and pure aesthetic impact?
For me, it’s about finding a balance without overthinking it. A design has to look striking, but it also has to work. Functionality is always the foundation, but I’m not afraid to push the boundaries aesthetically. If something looks bold or challenging, it’s because it’s supposed to make a statement.. At the end of the day, it has to work, but it also needs to stand out. Although I’m definitely guilty of emphasizing aesthetic over function at times.

What was the biggest challenge in bringing such daring concepts to life? Were there moments when you felt the design might be too ahead of its time?
The biggest challenge isn’t really about the design being too ahead of its time, but more about constantly questioning if it’s futuristic or advanced enough. With 3D modeling, I’m able to analyze and review the design in real time on a 3D manikin, which makes it easier to stay in tune with the feel and flow. Still, I often find myself in a back-and-forth, feeling like the design isn’t pushing the envelope enough, then feeling confident about the direction. The emotional rollercoaster of creating is real—it’s about balancing self-doubt with confidence. The toughest part is narrowing down which direction to take and trusting that the proposal you choose is the right one. There’s always that inner conflict, but it can also push you to refine and improve the design. It’s a challenge, but it’s part of the process.

Do these sunglasses represent a defining moment in your design journey, or are they a stepping stone toward something even more avant-garde?
I don’t really view it that way. For me, it’s more about having fun and expressing myself through the process. I’m enjoying the freedom that comes with designing something like eyewear, where I can have more control over the entire process, which isn’t always the case with the more complex projects I typically work on within automotive and aerospace design. It’s kind of an antidote to that. If people like it, great; if not, that’s fine too. Of course, I care to some extent about how it’s received, as we all do look for validation. But ultimately, I’m just creating and seeing where it takes me. Let’s see where things go in the future.

If these sunglasses could tell a story about the future, what would it be? A utopia, a dystopia, or something beautifully chaotic?
I’m not aiming for a future that’s strictly utopian or dystopian but one that thrives on the balance between innovation and raw, unapologetic expression. I’ve always been drawn to darker, edgier aesthetics—visions that endure because they fuse advanced, futuristic ideas with a tactile, imperfect humanity that feels both timeless and compelling. Certain brands and aesthetics capture this beautifully, balancing sophistication with a sense of edge, creating pieces that feel both otherworldly and deeply relevant. My goal is to channel that darkness while pushing toward a forward-looking, advanced vision that remains inherently human. It’s not about despair but about embracing the depth and complexity of what the future could hold and attempting to distill it down to its essence.