Interview with Cansu Türkdoğan Şimşek

Cansu Türkdoğan Şimşek ("CT�") interviewed on Thursday, 1 May.

Could you please tell us about your experience as a designer, artist, architect or creator?

CT� : I have been creating under my own brand since 2008. After graduating from Dokuz Eylül University with a degree in Gemology and Jewelry Design, my journey into the world of design became even more focused. Since 2011, I have been offering training in traditional jewelry-making techniques at my workshop in Bodrum, which has also grown into a production and creative hub over the years. In 2017, I expanded into home decor by designing and producing handcrafted decorative accessories. In addition to my own creations, I provide end-to-end design and collection consultancy to both emerging brands and established professionals. For me, design is not just about aesthetics—it's a bridge between knowledge, craftsmanship, and cultural storytelling.

How did you become a designer?

CT� : Becoming a designer wasn’t a conscious decision—it was something that had always been within me. Since childhood, I’ve been drawn to details, always wanting to create with my hands. Growing up in a family that valued art, especially having a father who was passionate about it, nurtured this instinct. Over time, my hands became familiar with materials, and my eyes trained to see form. Studying Gemology and Jewelry Design allowed me to turn that inner calling into a profession. But the real transformation happened in the workshop—working directly with fire, metal, and stone. So in truth, becoming a designer wasn’t something I chose; it was something that chose me. And I simply answered the call.

What are your priorities, technique and style when designing?

CT� : For me, emotion is always the first priority. What is the piece trying to say? What does it make you feel? That’s where I begin. Secondly, I focus on ergonomics. If it’s jewelry, it must fit the body perfectly. If it’s a home accessory, it must harmonize with its space. Thirdly, craftsmanship—respect for detail. A single solder point, the balance of a form, the placement of a stone… These small elements can make or break a design. I usually begin with hand sketches. Digital tools come into play later in the process, but everything starts with my hands. When approaching a new project, I begin by collecting thoughts and observations—things I’ve seen, felt, or noted. Then I let the material lead me—sometimes through wax, sometimes through metal, sometimes through stone. My style is based on simplicity with character. I love quiet but powerful forms—pieces that speak without shouting.

Which emotions do you feel when designing?

CT� : Design, for me, is a burst of energy. It’s a flow that starts from within and pushes outward. There are moments of quiet excitement when I see an idea taking shape, and moments of intense focus when everything around me disappears. The most exciting part is the initial idea—it comes with a rush of possibility. The process itself is a journey, but the real joy comes when the piece is completed. It’s like seeing a thought made real, tangible. I love the thrill of creating something that wasn’t there before, and the satisfaction that comes from seeing it finished. The whole experience brings me joy, and that feeling is what I chase every time.

What particular aspects of your background shaped you as a designer?

CT� : The environment I grew up in has been one of the most significant factors in shaping me as a designer. Growing up in a family deeply connected to art exposed me to aesthetics from an early age. My admiration for my father’s art and the time spent with him allowed me to accept art as a way of life. My education also played a crucial role. Studying at Dokuz Eylül University gave me a solid technical foundation. However, for me, design is not just a technical process; it’s an emotional journey. Non-design skills also significantly impact my work. My ability to observe, think creatively, and my curiosity about different cultures have been instrumental in defining my design philosophy. These skills, along with the inspiration I’ve gained from the people around me, have shaped my design world.

What is your growth path? What are your future plans? What is your dream design project?

CT� : In the future, I want to make my brand more visible internationally. I aim to create new sales points for Cansui in the U.S. and Europe. At the moment, I’m working on several new collections. One of them is inspired by the elements of water, aiming to carry the simplicity and strength of nature. My dream design project is an exhibition... I envision a showcase that presents all of Cansui’s collections as both an aesthetic and emotional experience. In this exhibition, the pieces won’t just be objects—they’ll represent a moment, a feeling. I’m looking forward to bringing these large projects to life in the near future.

What are your advices to designers who are at the beginning of their career?

CT� : Persistence is key. Whatever you do, always find ways to do it better. It’s about constantly seeking improvement and growth. I started designing driven by an inner urge, and that urge kept pushing me to embrace innovation. My advice to young designers is to learn from every technique, but never lose their own voice. Once they find their unique style, that’s when the truly distinctive designs will emerge. A mentor, a teacher, or collaboration can be important—but the most valuable thing is to listen to your inner voice. It’s that feeling, the one that makes you who you are, that should guide you.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

CT� : The most important thing for success is to always try to find your own path. Focus on what you want to create, not what others are doing. One of the key things for designers, artists, and architects is originality. Your designs should carry a piece of you. A major challenge in the design process is the fear of repetition. But I believe that every new project is a discovery, and you learn something new every time. The road to success is paved with courage and the willingness to experiment. Also, always continue to educate yourself. It's not only about technical skills but also about expanding your perspective on the world.

What is your day to day look like?

CT� : My day typically starts early in the morning. I plan the first tasks in my workshop, identifying key areas that need focus for the production process. By midday, I work on my designs while also coordinating with my team. I maintain a balance between design, production, and client relations throughout the day. In the afternoon, I hold meetings with clients and partners to track the progress of ongoing projects. I also spend time gathering inspiration and conducting research for new projects. In the evening, I review the day’s work and finalize plans for the next day. While work is important, I always make time for my family, as it helps me recharge and bring fresh ideas to my work.

How do you keep up with latest design trends? To what extent do design trends matter?

CT� : I make sure to keep an eye on the latest trends in the industry, but I also prioritize staying true to my own style. While I recognize the importance of trends, I always strive to integrate them into my work in a way that complements my unique design philosophy. It’s about balancing innovation with authenticity, ensuring that my designs are both modern and timeless.

How do you know if a product or project is well designed? How do you define good design?

CT� : Good design is something that not only looks visually appealing but also evokes a feeling. The first thing I assess when evaluating a design is the emotion it creates. A good design isn’t just about aesthetics; it also has to be comfortable and functional, with careful attention to ergonomics and presentation. While visual appeal is important, usability and the user experience are just as critical. Good design creates a sense of completeness, and it’s something that you enjoy interacting with every day. It’s much deeper than just surface beauty; it’s about the lasting impression it leaves on the person who experiences it.

How do you decide if your design is ready?

CT� : I know a design is ready when I look at it and feel that everything has fallen into place. If every detail feels right and the piece resonates with me, I know it’s time to move forward. I believe that design can always be improved. However, there comes a point when I can say, “I can’t make this any better,” and that’s when I consider the design complete. After that, I focus on new projects. Some designs can be revisited over time—certain pieces or collections might be re-evaluated or refined. But when a design feels finished to me, I’ve made peace with it. The success of a design is often felt when it’s used or displayed. If the piece truly connects with the person who wears it or interacts with it, then I consider it successful.

What is your biggest design work?

CT� : My biggest design work is the “Bird’s Eye” collection. This series was inspired by architectural structures, particularly historical buildings, observed from above. I took reference from structures like Notre Dame and Hagia Sophia, translating their symmetry and geometry into wearable forms. The reason I designed this collection was to capture not only the buildings themselves but the emotions, history, and culture embedded in them. Initially, I thought I would focus more on the architectural aspects and aesthetics. But throughout the process, I realized that each piece needed to tell its own story. This collection is special to me because it’s not just a jewelry collection, but also a bridge between the past and the present. Each piece draws inspiration from historical structures but is presented in a modern language. The process was challenging, but when the pieces finally came together and began to evoke the intended emotions, I felt a deep sense of satisfaction. Currently, one of my most exciting projects is a new collection inspired by the elements of water.

Who is your favourite designer?

CT� : The designers I draw the most inspiration from are Mimar Sinan and Leonardo da Vinci. Mimar Sinan’s works showcase both elegance and engineering genius, demonstrating that he was not just an architect, but also an artist. Leonardo da Vinci’s ability to merge art and science, and his deep approach to design, has always fascinated me. Their design philosophies remind me of the importance of blending aesthetics with functionality. These two figures inspire me because they were able to turn their creative thoughts into timeless works, guided by the light of science.

Would you tell us a bit about your lifestyle and culture?

CT� : Where I live, in Bodrum, deeply influences my work. The natural beauty, cultural heritage, and the calm lifestyle here inspire my designs. Bodrum is one of my favorite cities, and it’s where I feel most connected. My culture plays a significant role in my designs; the Mediterranean nature, its sunlight, sea, and light reflect the essence of my work. Music plays a key role in my creative process. I often work with calm music in the background as it helps me focus and relax. The culture I grew up in has a profound impact on my projects. I believe good design is crucial for societal progress because the right design can improve people’s quality of life. Personally, design has brought small but positive changes to my life. For example, I’ve developed the habit of re-evaluating everything around me from an aesthetic and functional perspective.

Would you tell us more about your work culture and business philosophy?

CT� : My work culture is a blend of creativity and discipline. I approach each project with a tailored perspective because every piece has its own story. For me, work is a continuous search—every day presents an opportunity to create something better. While I prefer working independently, I can also be highly productive with my team. When choosing business partners, trust, passion, and professionalism are key factors. In our collaborations, mutual respect and attention to detail are paramount. My responsibilities include managing the design process from start to finish, overseeing production and quality control, organizing workshop training sessions, and shaping the brand strategy. To be a good designer, artist, or architect, one needs to be creative, develop a strong visual language, and have patience. It's also important to embrace innovative thinking and always strive to take a step toward improvement.

What are your philanthropic contributions to society as a designer, artist and architect?

CT� : As a designer, I believe in giving back to the community that nurtured me. Through my workshop, I focus on supporting young designers and artists by offering training that provides both technical knowledge and guidance on how to navigate the creative process. I’m open to pro bono design work, as contributing to social projects holds a lot of meaning for me. I believe that artists and designers have a unique responsibility to engage in humanitarian projects. Design is not just a profession; it’s a tool for societal transformation and improvement. To support young designers, I participate in design events and conferences, and I also provide opportunities within my own design ecosystem. It’s important to encourage and collaborate with more designers and artists, contributing to cultural and social initiatives.

What positive experiences you had when you attend the A’ Design Award?

CT� : Participating in the A' Design Award was a significant milestone in my career. Competitions like this help designers enhance not only their creative skills but also their business acumen and professionalism. The award process provided me with three key benefits: Global Recognition: Winning a design award allowed my brand to become more visible internationally. Networking: It gave me the opportunity to meet other designers and professionals in the field, opening doors to collaborations and new projects. Feedback and Growth: Competitions provide valuable feedback, not just in terms of design quality but also for personal development. I believe design competitions are essential because they encourage designers to be more creative and innovative. They are crucial tools in shaping the future of the industry. Becoming "Designer of the Day" brings significant benefits to a designer’s career—this recognition not only boosts visibility but also provides new opportunities and motivates the designer to push further.

Cansu Türkdoğan Şimşek Profile