This issue’s guest column features Duygu Alkanat. A designer who graduated from Mimar Sinan University, Alkanat emphasizes that the learning process continues even while working. Highlighting their contribution to showcasing Turkish art and design to the world, Alkanat argues that designers must keep up with consumer trends, develop trendfocused designs, and representation products in harmony with new styles, colors, and patterns that attract interest.
Can you start by sharing the journey of your education and the beginning of your design career?
It might sound cliché, but I can say that my interest in art started at an early age. Back in our time, there wasn’t much guidance. At one point, I even considered something as far-fetched as studying engineering. But deep down, I always knew I loved painting, drawing, and creating models since childhood. This eventually led me to consider studying fine arts.
My ultimate goal became clear: to get into Mimar Sinan Fine Arts University, my first choice among schools offering art education.
I passed the two-stage aptitude exam and got into the Traditional Turkish Arts Department, my top choice within the fine arts program at Mimar Sinan University. While I was still in school, I had various options in mind about which field to pursue— carpets, weaving, printing, and home textiles. My first internship and job experience ended up being with a leading carpet company. Later, I explored other sectors, gaining valuable experiences. Despite the differences among them, the fundamental act of creating and applying designs strengthens one’s skills.
Between 2011 and 2012, I became a finalist in the 2nd and 3rd Carpet Design Competitions organized by GAİB. In 2015, I won the carpet exhibition award in a competition held by Maison Objet Paris and Tasarım Magazine. Today, with 12 years of experience, I am a passionate designer who continues to develop trend-driven and customer-oriented designs for leading carpet firms in the industry.
How important is the university you attended in achieving success in this field?
I’m torn between saying it’s both important and not so important. The university’s portfolio or reputation doesn’t matter as much as the years you dedicate to the craft. It’s a long journey of learning and improving yourself while you work. In the end, your target audience is the consumers, and they demand experience. On the other hand, academic education helps you solidify your identity as a designer. It enables you to design unique patterns. Universities with dedicated departments and faculty committed to the arts become references for shaping contemporary notions of art and aesthetics for future generations. For example, the combination of a pattern with the right colour can transform it into something extraordinary, while poorly chosen colours can ruin even the most beautiful design. Therefore, a designer must first master the concepts of colour and pattern and examine their combinations thoroughly. A well-trained textile designer will bring diversity and alternatives through their intrinsic aesthetic instincts, which is only possible with academic grounding.
What does the carpet mean to you?
It means freedom, originality, and being unique. It’s an ongoing process where the carpet inspires me as much as I inspire it—we evolve together. I definitely feel this mutual relationship. It’s a two-way process involving an exchange that continuously shapes both sides. For me, the carpet is my companion.
What is indispensable for you when designing something?
Research comes first. Gathering information about the target audience and focusing on the data collection process is essential. For each collection I produce different material boards, inspiration or idea boards.
Then, I think it’s crucial to empathize with the target consumers and move away from designing for everyone. Instead, I focus on creating designs tailored to the target audience. By analysing the data collected in my persona, I can better understand the demographic and region I’m designing for.
This enables me to develop the right color palette and patterns at the right time. Of course, the work must also include originality, innovation, and distinctive patterns, as always.
What should designers and brand owners do to make carpets a more prominent part of interior decoration?
In fact, we are showcasing Turkish art and design to the world. I believe we need to make it a principle to represent our country more in this field and to support our designers by bringing them to exhibitions. Supporting Turkish designers and making art more accessible can only happen with the help of brand owners. To avoid homogeneity, we should approach custom design with a bit of caution. I believe that greater creative freedom for designers will lead to much better outcomes. Instead of replicating what they see, designers should strive to discover and explore something new, which will take their work to the next level.
