Kaneko Optical, a Japanese eyewear brand, has used 3D printing to translate the surface language of Japanese ceramics into wearable form, releasing UROKO, a new limited eyewear model for Japanese designer ISSEY MIYAKE MEN’s Spring Summer 2026 “DANCING TEXTURE” collection, where every frame is structurally and visually unique.
Eight Lenses, One Ceramic Reference
UROKO departs from conventional eyewear geometry entirely. Rather than a single lens per side, the optical structure is divided into eight concave pieces, four per side, arranged in sequence across each arm of the frame.
Each lens was cut with an inward curve rather than the standard convex or flat profile, a structural choice that allows the lenses to sit tightly together within a compact frame while giving the piece its distinctly sculptural presence. The concept draws from the ceramic practice of Shoji Kamoda, one of Japan’s most recognised potters, whose work is defined by repetitive patterning and deliberate surface inconsistency.
Printed, Then Finished by Hand
The manufacturing process combines 3D printing with a manual finishing stage that preserves rather than eliminates surface irregularities, producing a sheen and tactile quality consistent with glazed ceramic. That deliberate imperfection is the point, no two frames are identical, each carrying slight variations that directly reference Kamoda’s own practice.
Available in Black frames with Brown or Dark Gray lenses, UROKO is sold through ISSEY MIYAKE EYES stockists, selected Kaneko Optical stores, and the Kaneko Optical online store.
The release follows the brand’s GRIT collection, launched late last year, which was 3D printed from plant-based oil-derived material and featured a similarly uneven surface finish the brand described as producing a natural bond between material and wearer.
3D Printing: Enabling Bold, Functional Design
UROKO’s aesthetic ambition depends on 3D printing to realise features that conventional manufacturing would struggle to deliver. Additive manufacturing gives designers freedom to produce complex geometries, embed functional elements without additional assembly steps, and achieve lightweight, durable structures. For fashion-led eyewear where formal experimentation, material efficiency, and limited-edition economics converge, additive manufacturing has become a popular choice.
The broader market reflects this shift. French designer Clara Berry recently launched Sasha, an eyewear collection developed with Visages drawing on 1980s sportswear and speed culture as its reference point. Similarly, Belgian 3D printing specialist Materialise collaborated with Safilo on the OXYDO Capsule Collection, producing 3D printed frames described as “wearable sculptures.” Similarly, Spectra Additive uses DLP technology and specialized resins to manufacture 3D printed frames with precise finishes, and distinctive aesthetics.
Despite its advantages, 3D printing has clear limitations for eyewear production. Higher costs and slower printing speeds compared with traditional acetate or injection-molded frames make large-scale manufacturing difficult. In addition, 3D printed frames often require post-processing and surface finishing to achieve smooth, polished surfaces suitable for retail.
3D Printing Industry is inviting speakers for its 2026 Additive Manufacturing Applications (AMA) series, covering Energy, Healthcare, Automotive and Mobility, Aerospace, Space and Defense, and Software. Each online event focuses on real production deployments, qualification, and supply chain integration. Practitioners interested in contributing can complete the call for speakers form here.
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Featured image shows UROKO, a new limited eyewear model for ISSEY MIYAKE MEN’s Spring Summer 2026. Photo via ISSEY MIYAKE EYES.
