Jasna Rokegem

Jasna Rokegem's thinking centers on a single provocative claim: clothing is on its way to becoming an interface, not just a covering. Her recurring formulation is that fashion will merge with technology until the garment itself thinks alongside the wearer. "Garments are becoming a living organism on its own, an extension of our body, and they start a new way of human communication" ¹. This is not decorative language for her; it is the structural argument underneath her demos and design work. Everything else she says, about brainwaves, AI, holograms, and sustainability, hangs off this core premise.

The concrete proof point she offers is her own "Fashion on Brainwaves" work, which she describes as "the first collection in the world that is visualizing your brain waves into morphing fashion" ¹. Practically, this means an EEG device feeding a microcontroller so the wearer gets real-time neurofeedback on relaxation or stress, visible on the garment itself ¹. She is explicit that this is a two-way street: the garment reads the body, and the body, in effect, reads the garment back. That reciprocity is what she means when she says wearers can end up more exposed than they expect, "although you're fully dressed, you can feel quite naked with your emotions on display" ¹. She treats this vulnerability as a feature of the technology's honesty, not a design flaw to be hidden.

From that starting point she extrapolates forward rather than staying purely descriptive. The near-term step, in her view, is AI-driven garments that behave like nodes in a neural network, communicating with each other, reacting to environmental stimuli, and anticipating needs before the wearer articulates them: "our garment becomes smarter and smarter and it can know what you need before you do" ¹. She frames this progression, from visual brainwave expression to anticipatory AI, as a natural escalation rather than a leap, and she ties it to a compact, almost consumerist vision of the future: one adaptive garment that changes color and form, regulates temperature, and stays clean, replacing a wardrobe the way a single smartphone replaced a drawer of separate devices ¹. Her shorthand for this is blunt and sums up the whole thesis: "It's one garment to rule them all. Fashion is the interface of the future." ¹

She also grounds the speculative material in stated present-day applications rather than leaving it entirely in the future tense. Brain-interface wearables, she notes, are already used in professional contexts that demand deep concentration, and she points toward potential future uses in helping communicate with children with autism or people who struggle to focus ¹. This is a consistent pattern in how she argues: she moves from an existing narrow use case to a broader speculative one, using the working example as evidence that the bigger claim is not purely hypothetical.

A second major thread, alongside the brain-computer material, is retail and visualization. She raises interactive holograms combined with 3D body scans as a way to let shoppers try on any outfit without physically redressing, and as a way to visualize digital data connections that are otherwise invisible ¹. This point matters to her overall picture because it extends the "garment as interface" idea beyond the individual wearer's body and into the shopping experience itself, suggesting that the interface metaphor is meant to apply across the whole fashion system, not just to the moment of wearing.

The environmental argument is where she most explicitly steps into advocacy. She states flatly that "the fashion industry is the second largest polluting industry in the whole world" ¹, and she uses that scale of problem to justify the technological interventions she is proposing. Nanotech textiles that are hydrophobic, stain-resistant, and UV-protective and never need washing are her specific mechanism for cutting the footprint, since she connects them directly to reducing polluting fibers shed into oceans, washing-machine electricity use, and the volume of clothing people pack for travel ¹. Digitalization, in her account, is not a separate trend from sustainability but a tool for achieving it.

The overall takeaway from her position is that she does not separate identity, wellbeing, and environmental impact into different conversations. She treats them as three outcomes of the same underlying shift, garments becoming smart, connected, adaptive objects. The wellbeing angle comes through her neurofeedback framing, the identity angle through her language of emotional display and communication, and the sustainability angle through her nanotech and single-garment proposals. Read together across her statements, her consistent message is that the garment's job is expanding from covering the body to expressing it, monitoring it, anticipating it, and ultimately reducing the material burden of clothing altogether ¹.