Founded in 2022 in the Geneva region, Paloceras was born from the meeting of two designers at ECAL who turned Alpine hikes and late-night studio sessions into a shared vision for what they call “fantasy eyewear”. Now split between Lisbon and Helsinki, the label shapes small-batch frames that feel closer to hand-sculpted artefacts than accessories. Their meticulous polishing, signature DualLayer acetate and embrace of imperfection have won them a cult following, proving that eyewear can hold the depth and tactility of an object of design.
This summer the brand stepped outside sunglasses with a silk-scarf collaboration with London drag artist Bo Quinn, turning painted makeup imprints into wearable artworks. And just days ago Paloceras unveiled Hydroceras, a limited 3D-printed edition inspired by liquid motion frozen in time. Both projects underline the founders’ urge to experiment across mediums while keeping craftsmanship central. We met them this summer to talk about their journey, their philosophy of making, and why each piece is designed to shift the way we perceive the everyday frame.
Hello guys, welcome to METAL. How are you both doing?
All good!
Where are you answering from today? Have you been able to enjoy some summer holidays or take a well-deserved break?
I’m in Lisbon, where we have our design studio, and Mika is in Helsinki, where we have the HQ and Mika's Stable Studio. Summer is moving ahead nicely; trying to enjoy it and make space for new ideas to flow.
How and when did you first meet? Was there a specific moment or spark that made you decide to create the brand together?
I met Mika during an advanced product design programme at ECAL in Switzerland. The idea for Paloceras came up toward the end, after a few hikes in the Alps and some late-night design rushes. We came from very different places and opposite backgrounds, but from countries that actually share more than you'd think. Meeting in this tiny Swiss town, surrounded by design and that whole Swiss mode de vie, really set the tone. At some point, the what-if just naturally turned into why not.
You both bring different creative skills and experiences to Paloceras. How have those influenced the brand’s vision? Did you always dream of starting your own business, or was this something that developed over time?
Our opposite skills created a kind of creative alchemy. I come from a hands-on background, building furniture and working on architectural elements. Mika comes more from the digital side, interfaces, and product. Somehow, it just clicked. It wasn’t planned, but in a way, it needed to exist. Mika probably has more of an entrepreneurial streak than me, but this venture feels natural, like something I was already orbiting around.
Paloceras is often described as eyewear that feels like a wearable sculpture. How do you balance that sculptural boldness with everyday functionality?
That is where our opposite skill sets meet, a constant back and forth between control and instinct. We sculpt first, then refine for comfort. The weight grounds you in the present, and the fit is carefully considered so the original crazy idea is never diluted.
Your tagline talks about the space between what is seen and what is felt. How do you translate that poetic idea into your designs?
It links to the previous question; that space between wearable and art is where our products take shape. It’s about tension, the kind that looks heavy but feels right, with colours that shift in the light and a design that’s in between.
The Pebble Collection has become a cult favourite internationally. Why do you think it resonates so strongly with stylists, artists, and consumers?
Hard to say for sure, but maybe people were just craving something with a bit more fantasy. Pieces that feel like objects first, accessories second. Bold, colourful, a little mystical, but still simple enough to wear every day.
You recently expanded the Pebble Collection with new shapes and colourways across Europe and the US. How has that international growth changed the brand?
It made us more context-aware. A frame that works in New York might feel too quiet in Paris or way too loud in Rome. Working with different partners around the world helps us pick up on those nuances. We see how people react and how styling shifts. It keeps things moving: new eyes, new energy, new reads on the brand.
Your proprietary DualLayer acetate technique is unique. Can you walk us through what inspired that and what it means for the wearer?
It all starts with acetate, a bioplastic made from cotton and wood pulp. We cut it, fuse it, and polish it to bring out depth and texture. DualLayer is our way of bonding two sheets together to create unexpected colour pairings. Once hand-polished, the second layer starts to reveal itself, like shadows trapped inside the material. For the wearer, it means tones and contrasts you won’t find elsewhere. Imperfect, then perfect, as the layers come through.
We know Paloceras is hand-finished in small batches. How important is craftsmanship in maintaining your brand’s identity?
Craft is where the trance starts, where the idea begins to take shape. Every curve, every edge is there for a reason; the handwork is where the piece wakes up. Imperfection isn’t always a flaw; for me, it’s more of a fingerprint. We like to sit in that space between control and instinct, not chasing mass-produced sameness, but creating artefacts that hold something you can feel, and that’s why hand-finished is so important.
Your pieces have been spotted on figures like Róisín Murphy, NENNY, and Djibril Cissé, among many others. If you could see any artists or public figures wearing one of your models, who would it be and why?
Someone unexpected, like a classical conductor after rehearsal in a café. I like it when the object lands slightly out of context, in between…
The collaboration with drag artist Bo Quinn and the silk scarf project brought a new dimension to Paloceras. What led you to that unexpected partnership?
We wanted bold ideas to breathe outside eyewear; accessories were always in mind. Eyewear is complex to design and produce because fit is everything; a silk scarf felt more frictionless, and we knew a great maker in Italy. On top of that, Bo’s rounded shapes and incredible makeup language met our world naturally, so we followed that thread.
How did working with Bo Quinn push your creative boundaries? Did it influence your approach to future projects?
It reminded us to let go and to keep playing at the centre. Bo’s work has some playful distortion we love; the scarf lets us distort ourselves too.
You don’t follow traditional fashion season cycles or hype drops. Is this a deliberate form of rebellion against the fast fashion system?
It is about giving ideas the time they need. Eyewear production timelines are long and very hands-on. Four releases a year rarely serve the work, so we keep ideas or release them when they are ready. A rhythm that respects development and quality is better aligned with what we’re trying to build.
Paloceras operates creatively from Finland, Portugal, and Switzerland. How do these different cultural environments feed into your aesthetic?
Switzerland is where it all began. Portugal was our first home, from a mezzanine in a ceramics studio to a space tucked beside a castle in Lisbon. Then came Helsinki, with a different kind of rhythm. Each place leaves a mark: the precision and clarity of Switzerland, the raw beauty and wild energy of Portugal, and the quiet structure and stillness of Finland. It’s as if each city offered us a piece of itself, and we let it in.
Your customers love the tactile experience as much as the look, don’t you think? How do you incorporate touch and feel into the brand ethos?
Definitely. Getting those rounded volumes in acetate took time; we paid close attention to how it feels in the hand. It had to sit like a smoothed stone, something you’re drawn to touch; a tactile experience. So it’s not just about the look; it has to feel right too. Like it was shaped with care, like a pebble you’d pick up on the beach and want to keep in your pocket.
If Paloceras were a sound or a song, what would it be, and why?
Half cathedral organ, half grain of sand friction. Slow, precise, heavy. Then suddenly, Sandstorm by Darude kicks in (because it’s a Finnish classic), and because reality glitches, and sometimes you need the trance to break the trance.
You’ve hinted at more unexpected collaborations coming soon. Without spoiling too much, what can we expect next?
More small batches, more texture-forward projects, and collaborations with cultural voices that feel precise rather than loud.
Finally, when someone puts on a pair of Paloceras, what feeling or experience do you hope they take away?
That reality tilts a little. People also tell us they get looks, conversations, and a bit of courage.
And where would you like to see the brand in five years?
Still independent. Still surprising ourselves. Present in the right places and collected like small artefacts rather than consumed.
Pebble Collection - Photo: Nikolai Frerichs
Pebble Collection - Photo: Nick Tulinen, Stylist: Anne Törnroos, Hair & Makeup: Jenny Jansson, Model: Monica Tor
Handcrafted Pebble by Pauline Pierre - Photo: Simo Aleksi Pukkinen III, Model - Melanie Bangura
Handcrafted Pebble by Pauline Pierre - Photo: Simo Aleksi Pukkinen III, Model - Melanie Bangura
Pebble Collection - Photo: Nikolai Frerichs
Pebble Marble Spectacle SX - Photo: Studio Rare, Model: Djibril Cissé