Evade House rejects the idea that technology and craft exist in opposition. Instead, their work treats AI as a space of resistance—where materials behave unpredictably, where human intuition sharpens rather than fades, and where sustainability moves beyond marketing language into something dynamic and alive.

Their approach to biomaterials challenges the need for permanence, embracing decay, transformation, and responsiveness. In this shifting landscape, design is no longer about control but about adaptation, anticipation, and understanding that the most radical innovations lie in how we think, not just in what we make.

You’ve integrated AI into your design process, training it with textures and materials from biomaterial research. How did this dialogue between technology and craftsmanship evolve?

I don't see technology and craftsmanship as opposing forces, but as an evolving symbiosis. Our approach to AI is not about replacing the human but expanding its possibilities—training it with textures and materials rooted in biomaterial research allows us to push the boundaries of what fabric and form can become. It’s not just about aesthetics; it’s about challenging traditional processes, questioning how materials behave, and rethinking what’s considered wearable.

This dialogue started as an experiment, a way to test the limits of both machine learning and manual craft. But as we trained the AI with our materials—some of them handcrafted, others emerging from experimental processes—it became clear that this wasn’t just a tool, it was a collaborator. The AI could generate unexpected iterations, but it was human intuition that filtered and refined them.

What excites us the most is how this interplay between AI and craftsmanship is not linear.
It’s fluid, constantly shifting. The way we see it, AI is not just a means to an end—it’s a space of resistance, where we negotiate between control and chaos, precision and imperfection. And in that space, we find new forms of beauty.

Replacing conventional plastics with biomaterial-inspired alternatives is a significant shift. What discoveries in material research were most surprising or impactful for you?

One of the most striking realizations was how alive materials can be. When you step away from industrial synthetics and engage with biomaterial research, you stop seeing materials as static. They breathe, react, evolve. What fascinated me the most was their unpredictability—how some materials could shift with temperature, absorb moisture, or even develop textures over time. Instead of forcing control, I embraced this organic behavior, allowing the material to dictate part of the design process.

Another breakthrough was understanding that sustainability isn’t just about substitution—it’s about redefining value. Conventional plastics exist because they’re cheap, durable, and predictable. Biomaterials disrupt that mindset. They demand a new relationship between object and wearer: one that’s more dynamic, more aware. We discovered that materials inspired by nature could have an ephemeral quality, making permanence feel almost irrelevant. That was a shift in perspective—not everything has to last forever to be meaningful.

Ultimately, the most impactful part of this research wasn’t just the materials themselves but how they forced us to rethink the role of fashion. If materials are evolving, then design must evolve too. That’s where the real challenge—and opportunity—lies.

What kind of conversation do you hope these glasses will spark about sustainability and technological innovation?

We don’t want these glasses to just talk about sustainability and technology—we want them to challenge the way people perceive them. Sustainability is often reduced to a checkbox, a label, or a marketing angle. But for us, it’s about shifting the relationship between materials, technology, and the body.

These glasses are a statement on how innovation isn’t just about efficiency or aesthetics—it’s about consciousness. They exist in that space where craftsmanship and AI coexist, where materials are reimagined, where the process matters as much as the outcome. We want people to question what they’re wearing, not just in terms of materials but in terms of time. Are we designing for the present, or are we anticipating the future? Are we making things that are truly needed, or are we just feeding an endless cycle of consumption?

If these glasses spark any conversation, we hope it’s about reconsidering the very nature of fashion—moving away from the idea of objects as static possessions and towards a future where design is fluid, adaptive, and deeply intentional.

You’ve spoken about creating a new social vision through design. What role do you think accessories, and eyewear specifically, play in shaping cultural contemporary age we live in?

Eyewear is more than just an accessory—it’s a lens through which we filter reality, both literally and conceptually. In a time where perception is constantly being shaped, distorted, and reconstructed—through screens, AI, and digital identities—glasses become an interface between the self and the world. They are objects of power, anonymity, transformation.

What fascinates me is how accessories, and eyewear in particular, operate at the intersection of identity and function. Unlike clothing, they exist closer to the face, altering how we are perceived and how we perceive. They can obscure or reveal, they can be a shield or an amplifier. In that sense, they become tools for shaping not just personal expression, but social narratives.

Right now, we live in an era where everything is hyper-visible yet deeply fragmented. These glasses are not just about aesthetics or utility; they are about questioning what we see and how we see it. They invite a reconsideration of perception itself—how materials, technology, and craftsmanship can interact to shape a new cultural language. If fashion is about proposing alternative realities, then accessories are the most immediate way to engage with them.

Your work suggests a future where human craftsmanship, AI, and nature coexist. How do you see this relationship evolving in the coming years?

I see a future where design is no longer dictated by rigid categories but instead operates in a constant state of flux, where materials, technology, and human intuition form a symbiotic system.

Right now, AI is often seen as a tool—something to optimize, generate, or replicate. But what happens when we stop using it as an instrument and start treating it as an ecosystem? One that learns from nature, interacts with materials, and evolves alongside human creativity? That’s the space we are interested in. A future where AI doesn’t just mimic but mutates, where craftsmanship isn’t about nostalgia but about adaptation, and where nature isn’t something to extract from but something to collaborate with.

We are moving towards a post-industrial mindset—one where waste is unacceptable, permanence is questioned, and objects are designed to exist in cycles rather than linear lifespans. The real challenge is no longer just making things differently; it’s thinking differently. And in that shift, we see the most radical potential for fashion.

Beyond eyewear, do you see these design principles extending to other areas? Where would you like to take EVADE HOUSE next?

Evade House was never just about clothing, and it’s not just about eyewear now. It’s about constructing a language—one that speaks through materials, form, and process. The principles we explore in this collection—hybridizing craftsmanship and AI, working with materials that challenge permanence, designing for a future that’s not yet defined—are not confined to fashion. They are a way of thinking.

Where we take Evade House next isn’t about expansion in a traditional sense; it’s about deepening this dialogue. It could manifest in architecture, objects, digital environments, or even systems that redefine how we interact with design itself. We’re interested in pushing the edges of wearability—what does it mean to ‘wear’ something when materials are shifting, when technology is embedded, when the body is no longer the only reference point?

The future of Evade House is not a straight line—it’s an open field. And that’s exactly how we want it to be.