The oval Panto frame is another turning point in the history of eyewear where spectacles emerge as desirable fashion items and not just medical devices for ocular correction. They are often associated with the style of the 1940s, but actually originate in the 1930s. Prior to this, the bridge and the temples on a frame would all line up on the horizontal, as in the glasses Winston Churchill can be seen wearing in DarkestHour. However, if we bring the bridge and temples up and therefore the lenses down, the lens fits better with the shape of the eye and less of the lens is above the eyebrow. We can see more by achieving a greater field of vision. Panto is short for pantoscopic, meaning all-round vision. Revolutionary in both the correction of eyesight and eyewear fashion, a panto gives the wearer the look of a classic academic. We associate them with our old English teachers, or a well-turned-out and clever-looking fellow standing at the top of the library steps, with croquet on the college lawn at Oxford or a punting party on the Cam, Brideshead Revisited, Humphrey Bogart in the bookshop in The Big Sleep. They can make the young look bookish but, unfortunately, the old look older as well as donnish. In evoking the old-world charm of the 1930s, the Panto has a sort of timelessness about it, even though in terms of styling there’s not much you can do with it. Despite this, it’s a design that keeps coming back. The first Armani optical collection in the late 80s were Pantos. Pantos are having a retro-Renaissance at the moment. They come back into fashion every 20 years or so. The Panto does mark an important milestone in the journey of eyewear from the doctor’s surgery to the fashion house, but I much prefer working with the less-jaded and more versatile designs of the 50s to the 80s.