Interview with Ipek Cetinkaya

What motivates me most is the possibility of transforming an idea, a story, or an emotion into something tangible. I have always been fascinated by the way a thought can gradually become a form, and how materials and textures can give that form its own character.

Design gives me a way to express ideas that are sometimes difficult to communicate with words. I enjoy the entire journey—from the first thought and hand-drawn sketch to the moment when I can finally hold the finished object in my hands.

I became a designer because this process of imagining, experimenting, questioning, and creating feels very natural to me. Even though it can sometimes be challenging, the moment when an idea finally becomes what I had envisioned gives me a very special sense of satisfaction and continues to motivate me to create.

I have always had a creative side. From a young age, I was drawn to drawing, books, and storytelling, although I did not immediately know that design would become my profession.

My father recognized this side of me quite early and encouraged me to explore a creative path where I could express myself and find greater fulfillment. His support played an important role in my decision to study Fashion Design.

So becoming a designer was never something I was forced into. It was more a process of discovering where my natural interests belonged and gradually finding my own path within design.

Today, my main focus is handbags and accessories, particularly designs where I can explore the relationship between form, material, and functionality. I enjoy creating pieces with a sculptural character that are visually distinctive but still practical enough to become part of everyday life.

In the future, I would like to continue developing this design language and explore it through new forms, materials, and types of accessories. I do not want to limit creativity too strictly to one category. What interests me most is creating objects that carry a story and a strong identity, while remaining functional and meaningful to the person who uses them.

I still see myself as someone who is learning, exploring, and evolving as a designer, so I would hesitate to call myself a design legend. But from my own journey, I would tell young designers not to focus too much on titles or recognition. Focus first on developing your own voice.

Stay curious, learn about materials and craftsmanship, observe the world around you, and do not be afraid to experiment or make mistakes. Competitions and awards can give you valuable encouragement and visibility, but they should motivate you to go further rather than become the final goal.

Most importantly, be patient with yourself. Finding your own design language takes time. Keep questioning, keep creating, and remain open to learning—because I believe a designer never really stops developing.

A good designer can create something that is beautiful, functional, and well resolved. I think a great designer goes one step further and creates work that carries a recognizable point of view and makes people feel something.

For me, the difference is not only technical ability. It is also curiosity, sensitivity, and the courage to develop your own design language rather than simply following what already exists. A great designer continues to question their own work, remains open to learning, and understands when to add something and when to take something away.

Perhaps most importantly, their designs have a certain soul. You can feel that there is a thought, an intention, and a human presence behind what has been created.

For me, a really good design is about the feeling of completeness. Form, proportion, material, function, color, and details should come together naturally and create a sense of harmony.

Sometimes it can be a very small detail, a particular color, or an unexpected color combination that gives a design its character. These elements do not necessarily need to be dramatic. What matters is how they contribute to the whole.

I believe a design becomes truly successful when this overall composition creates a connection with the person experiencing it. If something in the design makes you look again, feel something, or remember it, then it has gone beyond simply being aesthetically pleasing. It has created a relationship with you, and for me, that is an important quality of really good design.

The value of good design goes far beyond appearance. A well-designed object can make everyday life easier, create pleasure in use, and remain meaningful for a long time. When function, quality, material, and aesthetics come together thoughtfully, we often develop a different relationship with that object and want to keep it rather than constantly replace it.

For me, investing in good design is therefore also about choosing with more awareness. I would rather own something that is thoughtfully made, works well, and continues to give me pleasure over time than something that quickly loses its relevance. Good design has the ability to become part of our lives, and that lasting relationship is where much of its value lies.

If I had unlimited time, I would love to explore design with even greater freedom, experimenting with materials, textures, and sculptural forms without necessarily starting from a specific product category.

I would also find it very exciting to design for Loewe one day. I feel connected to the brand’s strong relationship with leather, craftsmanship, and its freedom in exploring unexpected forms. These are areas that are also very close to my own way of thinking as a designer.

More generally, I want to design for people who appreciate not only the object itself, but also the story, thought, and craftsmanship behind it. For me, the most meaningful designs are those that create a natural emotional connection with the person who experiences them.

One project I would love to realize in the future is a more experimental collection where I could explore leather in new ways and combine it with different materials, textures, and techniques.

I would like the project to bring together design, craftsmanship, and creativity, with each piece beginning from its own story or emotion. Rather than starting with a fixed idea of what the final object should be, I would like to give myself the freedom to experiment and allow the material and the idea to guide the design.

It is something I have not yet had the time to explore fully, but I think it would bring together many of the things that have interested me since my early years as a designer.

I am not sure there is a secret recipe for success, but if I had to choose one ingredient, I would say curiosity. I have always been curious about materials, textures, forms, stories, and the possibilities hidden within an idea.

I also believe in patience and in questioning my own work. I rarely accept the first solution simply because it works. I like to look again, change a proportion, reconsider a detail, or explore another possibility until the design feels right to me.

Perhaps my secret ingredient is the combination of curiosity and persistence—remaining open enough to discover something unexpected, but patient enough to keep working until the idea finds its right expression.

There are many creative people whose work I admire, but Alexander McQueen, Zaha Hadid, and Rei Kawakubo are particularly inspiring to me, each for a different reason.

I admire Alexander McQueen for the way he brought storytelling and emotion into fashion. His work showed that a design can go far beyond the object itself and become a way of communicating an idea, a feeling, or even an entire story.

Zaha Hadid inspires me through her extraordinary approach to form, geometry, and movement. I find it fascinating how architecture in her work can feel both powerful and fluid, and how familiar forms can be reconsidered from a completely different perspective.

What I find especially interesting about Rei Kawakubo is her freedom to question conventional ideas of beauty, proportion, and form. Her work reminds me that design does not always need to follow established rules and that sometimes the most interesting ideas appear when we have the courage to question them.

They are very different creators, but perhaps that is exactly why I find them inspiring. Each of them, in their own way, created a design language that is immediately recognizable as their own.

One of the designs that is most important to me is the Butterfly Effect Multifunctional Bag. What makes it special to me is the way the original idea, transformation, and functionality come together within one design.

I wanted the bag to be more than a visually interesting object. Its ability to transform and adapt was an essential part of the concept, so the function was not something added afterwards; it developed together with the form.

I also have a personal connection with this design because it represents an important stage in my development as a designer. Receiving recognition for it through the A’ Design Award gave me confidence in my design language and encouraged me to take the next steps in my journey. For that reason, its value to me is both in the design itself and in what it came to represent in my career.

I think becoming a better designer requires continuous learning, but not only through design itself. Observing, reading, experiencing different materials, understanding how things are made, and remaining curious all contribute to the way we develop creatively.

In my own journey, working closely with materials has taught me a great deal. During my education I experimented with different textures and techniques, and later, working professionally in the leather industry allowed me to understand leather, construction, and craftsmanship much more deeply. Seeing how an idea is actually translated into a physical object changed the way I design.

I also challenged myself by entering design competitions and allowing my work to be evaluated outside my own environment. This gave me new perspectives and encouraged me to continue developing. I believe improvement comes from staying curious, questioning your own work, and never assuming that you have finished learning.

If I had not become a designer, I think I might have become a writer. As a child, I loved books and storytelling, and for a period of time I actually imagined myself becoming a writer.

Looking back, I find it interesting that storytelling is still present in what I do today, just in a different form. Instead of expressing an idea only through words, I now often begin a design with a story, an emotion, or a thought and try to translate it into form, material, and detail.

So perhaps the profession would have been different, but the desire to create and tell stories would probably have remained the same.

For me, design is a way of giving physical form to an idea, a feeling, or a story. It is the process of taking something that initially exists only in your mind and expressing it through form, material, color, detail, and function.

But design is not only about creating something beautiful. It should have a reason to exist and should somehow connect with the person who experiences or uses it. Sometimes that connection comes through function, sometimes through a material, a color, or even a very small detail.

I think this is what makes design so fascinating to me: it brings together thought and emotion with something tangible. When all of these elements find the right balance, an object can communicate without needing words.

I have been fortunate to have different people support me at different stages of my journey. My father was one of the first people to recognize my creative side and encouraged me to follow a path where I could express it.

Later, when I began my professional career in the leather industry, Mr Demirci, the owner of the company where I worked, had an important influence on my development. I learned a great deal from him—not only about design, but also about materials, stitching, construction, and the realities of production. That experience helped me understand that a good design is not only an idea on paper; you also need to understand how it can actually be made.

I am grateful to the people who shared their knowledge with me and believed in my abilities along the way. Each of them contributed to the designer I have become today.

I think it has been a combination of many experiences rather than one particular thing. My education gave me the freedom to experiment, while my years in the leather industry taught me to understand materials, construction, stitching, and production much more deeply.

Working closely with materials has probably shaped me the most. When you understand how a material behaves, what it allows you to do, and where its limits are, you begin to design differently. At the same time, mistakes, difficult projects, and ideas that did not work as expected have taught me just as much as successful ones.

Design competitions also gave me the opportunity to challenge myself and see my work from another perspective. Above all, I think remaining curious and continuing to learn have been essential. I still do not feel that there is a point where a designer can say, “Now I know enough.”

One of the challenges I faced was learning how to translate an idea in my mind into something that could actually be produced. An idea can look beautiful in a sketch, but materials and construction have their own possibilities and limitations. Learning to work with those realities rather than against them took time and experience.

Another challenge has been my own tendency to question my work. Sometimes I know exactly what I want a design to feel like, but finding the right form, proportion, or detail can take many attempts. That process can be frustrating, but over time I have learned that these difficult moments are often an important part of finding the right solution.

I think many of the obstacles I encountered eventually became part of my education as a designer. They taught me patience, flexibility, and not to be afraid of changing direction when a design needs it.

I think a design should be presented in a way that allows people to understand both the object and the idea behind it. Good photography and visual presentation are important, but they should support the design rather than overpower it.

I also like to see the details, materials, and craftsmanship, because these often reveal things that cannot be understood from the overall image alone. If there is a story or particular thought behind the design, I think it is worth sharing that as well.

For me, the best presentation is clear, honest, and visually strong, while still allowing the design itself to remain the main focus.

My main focus now is continuing to develop MOONILIN and its design language. I want to explore new ideas through form, material, color, and thoughtful details while staying true to the identity we are building.

In the future, I would like to expand this world gradually through new collections and perhaps new types of accessories. I do not want to define everything too far in advance, because I think part of creativity is leaving space for unexpected ideas. What I hope people can expect from me is continued curiosity, evolution, and designs that still feel recognizably mine.

My ultimate goal is to develop a design language that is truly my own and that can continue to evolve without losing its identity.

Of course, I would love to see MOONILIN grow internationally, but for me success is not only about how widely a design is known. I would like to create pieces that people recognize, connect with, and continue to value over time.

If one day someone sees a design without seeing my name and can still feel that it could be mine, I think that would be one of the most meaningful achievements for me as a designer.

Design influences our everyday lives much more than we sometimes realize. The objects we use, the spaces we live in, and even the way information is communicated are all shaped by design. When design is thoughtful, it can make life easier, more intuitive, and more enjoyable.

I also believe good design can encourage us to value things differently. When something is well made, functional, and meaningful to us, we are more likely to care for it and keep it for longer rather than constantly replacing it.

Design alone cannot create a better society, but it can contribute by encouraging more thoughtful choices and by creating things that genuinely improve people’s everyday experiences.

At the moment, I am especially excited about bringing MOONILIN to life as a complete brand. For a long time, many parts of it existed as ideas, sketches, materials, prototypes, and plans. Seeing all of these elements gradually come together into something real is very special to me.

What excites me most is seeing the designs leave my sketchbook and begin their own life. Developing the collection, working on the details, and building the world around the products has made this a very personal creative journey.

It feels like the beginning of a new chapter, and I am very curious to see how people will experience and connect with the designs.

I would like to see the design industry move a little further away from the constant pressure to create something new simply because trends change so quickly. I hope there will be more appreciation for quality, materials, craftsmanship, and designs that are created to remain relevant for longer.

Technology will certainly continue to change the way we design and produce, and I see many opportunities in that. At the same time, I hope we do not lose the human side of design—the knowledge of materials, the value of craftsmanship, intuition, and the small imperfections that can sometimes give an object its character.

For me, progress does not always mean creating more. Sometimes it can mean creating more thoughtfully and giving greater value to what we choose to make.

Stay curious, trust your own path, and never stop learning.

For me, design is a continuous journey. There will always be something new to discover, a different material to understand, another perspective to consider, or an idea that challenges what you already know. Curiosity keeps me moving forward, while trusting my own path reminds me not to lose myself in what everyone else is doing.

I think the relationship works in both directions. Trends can influence design because they reflect changes in culture, lifestyle, technology, and the way people live. At the same time, a strong design can introduce a new perspective and eventually influence what becomes a trend.

Personally, I prefer not to begin a design by asking what is currently fashionable. I find it more interesting to follow an idea and develop it in my own way. Trends can be observed, but I do not think they should define a designer’s creative direction.

The designs that interest me most are often those that have their own identity and can remain relevant even after a particular trend has passed.

Color and material can completely change the character and emotion of a design. The same form can feel very different depending on the material, its texture, or the colors used. Sometimes even a small change in color can transform the way we experience an object.

I am particularly interested in how colors interact with each other and with the material. A combination can create contrast, harmony, softness, or strength, and sometimes it becomes one of the details that makes a design memorable.

The surrounding atmosphere also influences how we perceive design. Light, space, and context can reveal different qualities of an object. For me, all of these elements work together to create the overall feeling of a design and the connection it can establish with a person.

I would love people to ask, “What is the story behind this design?”

For me, a design often begins long before the final form appears. There may be an emotion, an observation, a material, or a small detail behind it that eventually develops into the finished piece. I like when a design creates enough curiosity for someone to want to discover that story.

I think that moment of curiosity means the design has already started a conversation with the person looking at it.

When I see a really good design, my first reaction is usually curiosity. I want to understand what makes it work so well. I start noticing the proportions, the material, the details, and sometimes a very simple idea that has been resolved in an unexpected way.

I particularly enjoy designs that make me look twice. When something appears simple at first but reveals another detail or thought when you look closer, I find that very inspiring.

A great design often makes me think, “I wish I had thought of that.” For me, that is one of the nicest reactions another designer’s work can create.

Yes, I believe in co-design when there is mutual respect and a genuine exchange of ideas. For me, the ideal design partner is not necessarily someone who thinks exactly as I do, but someone who brings a different perspective, knowledge, or skill to the process.

I think the most interesting collaborations happen when both sides keep their own identity while creating something that neither of them would have developed in exactly the same way alone.

For that to work, there has to be trust, openness, and a shared understanding of quality. A good collaboration should expand your way of thinking without making you lose your own design voice.

One book that had a very direct influence on my design journey was Richard Bach’s Jonathan Livingston Seagull. It inspired the concept behind a design I created for the first Detay Leather Products Design Competition in Turkey, where I received first place.

What stayed with me was not simply the story itself, but the feelings and ideas it created in my imagination. I translated that inspiration into my own design language rather than trying to represent the book literally.

That experience was very meaningful to me because it showed me quite early in my career that inspiration can come from outside the design world. A book, a story, or even a single feeling can eventually become a material, a form, or a detail. It is still an important part of the way I approach design today.

I feel very grateful for the recognition my work has received. Awards are meaningful to me because behind every design there is a long process of thinking, questioning, experimenting, and sometimes doubting yourself. When that work is recognized by an experienced jury, it gives you confidence and encourages you to continue.

At the same time, I would not describe myself as famous. I still see myself simply as a designer who is developing, learning, and building her own path. Recognition is wonderful, but I try not to let it become the reason I design.

For me, the most valuable part is knowing that something I created has connected with others. Awards can open doors and give visibility, but the real motivation is still the desire to create something meaningful and to continue growing as a designer.

My favorite color is lilac, my favorite place is Istanbul, and my favorite food is fish. Summer is definitely my favorite season, and perhaps unsurprisingly, one of my favorite things is a bag.

If I had to choose a favorite brand, I would say Loewe. I admire its strong connection to leather and craftsmanship, but also the way it continues to experiment with materials and creativity while maintaining its identity. That balance between heritage and contemporary design is something I find very inspiring.

What makes my day great as a designer is often something quite small. It can be finding the right solution to a detail I have been thinking about, seeing a form finally come together, discovering an interesting material, or simply having a new idea that excites me.

I do not believe creativity can always be forced, so I do not try to motivate myself in the same way every day. Sometimes I need to step away from a design, observe other things, read, or simply give the idea some space. Very often, the solution appears when I stop trying too hard to find it.

And when something I have imagined finally begins to feel right, that feeling itself becomes my motivation to continue.

Not at all. I do not think it was obvious that I would become a designer. What was clear, however, was that I had a strong creative side.

As a child, I loved drawing, books, and stories, and for some time I actually imagined that I might become a writer. I was always attracted to creating something from my imagination, although at that age I had no idea where it would eventually lead me.

Looking back, I think the signs were there, just not in the form of a specific profession. The desire to imagine, create, and tell stories was already part of me. It simply took time for me to discover that design would become my way of expressing it.

A thousand years is almost impossible to imagine. Technology will probably transform the way we live, communicate, create, and perhaps even the way we understand the world around us.

But I like to believe that some things will remain very human. We will still have the desire to create, to tell stories, to express ourselves, and to surround ourselves with things that have meaning.

The tools may be completely different, but I hope curiosity, imagination, and emotion will still be at the heart of creativity. Perhaps a thousand years from now, people will look back at the objects we create today in the same way we look at objects from the past—not only to understand how people lived, but also what they valued and found beautiful.

I would like people to know that behind every design there is usually much more than what is visible at first glance. There are thoughts, sketches, questions, changes, materials, emotions, and sometimes many moments of uncertainty before something finally feels right.

I do not see design as a destination where you eventually know everything. For me, it is an ongoing process of learning, observing, experimenting, and discovering new sides of yourself along the way. I hope I never lose that curiosity.

As I continue developing MOONILIN and creating new work, I hope people will not only see the finished object, but also feel some of the thought and emotion behind it. If a design can create that quiet connection with someone, that is already very meaningful to me.

Moonilin is a contemporary handbag brand founded with a focus on timeless design, material integrity, and quiet elegance. Inspired by the moon, celestial geometry, and the balance between structure and fluidity, we create sculptural yet functional pieces for modern everyday life.

Our bags are crafted from high-quality Italian leather by skilled artisans, combining architectural forms with thoughtful details. My aim with Moonilin is to create distinctive pieces that feel personal and remain relevant beyond changing trends.

For me, design is about creating harmony between form, function, and emotion. A good design should have a clear purpose, but it should also create a feeling and a connection with the person who uses it.

I believe in creating objects that are thoughtful, functional, and visually distinctive without being excessive. Design becomes timeless when every detail has a reason to exist.

I especially enjoy designing handbags and accessories because they allow me to work closely with form, material, and functionality. I love developing a silhouette from a simple geometric idea and transforming it into something sculptural yet practical.

For me, the most interesting designs are those where beauty and function naturally come together, and where small details make a meaningful difference in everyday use.

One of my most meaningful designs is the Butterfly Effect Multifunctional Bag. It is special to me not only because of its design, but also because it represents an important turning point in my journey as a designer.

The concept combines transformation, functionality, and aesthetics, allowing the bag to adapt to different uses while maintaining a distinctive form. Receiving recognition for this design at the A’ Design Award gave me the confidence to take my work further and played an important role in my decision to establish my own brand, Moonilin.

The first product I designed professionally for a company was a leather jacket. It was at the beginning of my career in the leather industry and gave me the opportunity to understand leather not only as a material, but also in terms of construction, movement, and craftsmanship. That experience became an important foundation for my later work with leather bags and accessories.

Leather is definitely my favorite material. I am drawn to its texture, durability, and the way it develops character over time. It is a material that can be both structured and soft, which gives me great freedom when working with form. I also appreciate that every piece of leather has its own natural character, making each design feel slightly unique.

I feel most creative when I have the space to observe and let ideas develop naturally. Inspiration often comes unexpectedly—from a material, a geometric form, nature, architecture, or simply a detail I notice in everyday life. I enjoy those moments when a small observation begins to evolve into a shape or a new design idea.

I focus strongly on form, proportion, material, and functionality. The overall silhouette is usually very important to me, but I also pay close attention to how the design feels and works in everyday use. I believe details should have a purpose rather than being purely decorative. Finding the right balance between aesthetics and functionality is always at the center of my design process.

Starting a new design can be both exciting and stressful for me. When I have a certain form or texture in mind, the process of trying to achieve exactly what I imagine can sometimes be challenging and even frustrating. There are moments when I question whether I will reach the result I am looking for. But when everything finally comes together and I achieve the form and feeling I envisioned, that uncertainty turns into an incredible sense of happiness and satisfaction.

Seeing a design become real is a very special moment for me. An idea that once existed only in my mind suddenly becomes something I can see, touch, and experience. I often look at the first prototype very carefully, almost rediscovering the design through the material. When it captures the form, texture, and feeling I originally imagined, I feel an incredible sense of happiness, accomplishment, and connection to the piece.

For me, a successful design has a clear identity and purpose. Form, material, and function should work together naturally, and the design should communicate the idea or story behind it without needing too much explanation. I also believe a successful design should go beyond a temporary trend. When people can connect with it, enjoy using it, and continue to value it over time, the design has truly succeeded.

The first things I notice are usually form and proportion. A design should feel visually balanced, even when it is unconventional. Then I look at the choice of material, the quality of the details, and how naturally the function has been integrated into the design. For me, a good design feels considered as a whole—nothing seems unnecessary or out of place.

I believe designers have a responsibility to think beyond appearance and consider the life of the product they create. This means making thoughtful choices about materials, quality, functionality, and longevity. I prefer to create pieces that are designed to be used and appreciated for many years rather than following short-lived trends. For me, responsible design begins with creating less, but creating with purpose and lasting value.

Design is becoming increasingly connected with technology and new creative tools, and I see this as an opportunity rather than a threat. Technology can support us, expand possibilities, and make parts of the design process more efficient, but I believe creativity should remain in the hands of the designer.

For me, the most valuable designs are those that have a soul—pieces that carry an idea, an emotion, and a human touch. I believe the future of design lies in finding the right balance between technological possibilities and human creativity, Intuition, and craftmanship.

I have not yet held a personal design exhibition. At this stage, my focus has been on developing Moonilin and building its design identity and collections. In the future, I would love to present my work in an exhibition or an international design setting where the pieces can be experienced not only as products, but also through the stories, forms, and

Inspiration can come to me from almost anywhere—nature, architecture, geometry, a material, a book, a film, or simply something I notice in everyday life. In fact, one of my early award-winning designs was inspired by a book I had read.

I often begin with a story, an emotion, or an idea rather than directly with a shape. From there, I explore how that story can be translated into form, texture, and material. I believe staying observant and curious is essential, because sometimes an unexpected detail can become the starting point for an entire design.

I would describe my design style as sculptural, refined, and quietly distinctive. I am drawn to geometry, architectural forms, and the contrast between strong structure and soft femininity. Material and texture also play an important role in giving each design its character.

Over time, I naturally developed a preference for clean forms and thoughtful details rather than decoration for its own sake. My approach is to create pieces with a strong identity that remain functional and understated—designs that can attract attention without needing to be loud.

I am originally from Turkey and have been living in Germany for many years. Living between two cultures has naturally broadened my perspective. I do not necessarily translate cultural heritage into direct motifs, but I believe our background influences the way we see beauty, materials, craftsmanship, and everyday life.

Germany has given me a strong appreciation for functionality, clarity, and quality, while my connection to Turkey keeps me close to craftsmanship and a more intuitive, emotional side of creation. For me, having both perspectives is more of an advantage than a limitation.

I value clear communication, mutual trust, and a shared understanding of quality when working with companies and partners. I like to communicate the idea and intention behind a design clearly, while also being open to the expertise of the people I work with. I believe the best results come from collaboration—when everyone brings their knowledge to the process while respecting the original design vision.

I think companies should look beyond a designer’s portfolio and try to understand how they think and approach a problem. A good designer should have a clear point of view, but also be able to listen, understand the identity and needs of the company, and communicate well.

The best collaborations happen when there is mutual trust and enough creative freedom for the designer to bring something meaningful to the project, while still respecting its purpose and identity.

My design process usually begins with a story, an emotion, or an idea. Before I start sketching, I think about how that story could be expressed through form, texture, and material. Once the direction becomes clear, I begin developing the silhouette and details.

From there, the design evolves through sketches, material exploration, and prototypes. I pay particular attention to proportion and functionality during this stage. The process continues until the physical piece captures the feeling and character I originally imagined

Two objects in my home that I particularly value are pieces that caught my attention because of their craftsmanship and use of material.

One is a hand-carved wooden object with elephant figures worked into the wood. I find the level of detail and the craftsmanship fascinating, especially the way a natural material has been transformed through carving while still keeping the character of the wood.

Another is a vase decorated with a pattern created from peacock feathers. What I love most about it is the harmony of the colors, the natural variations in the feathers, and the delicacy of the workmanship.

I am often drawn to objects like these, where material, color, and craftsmanship come together in an unexpected way. They remind me that sometimes it is the smallest details and the way a material is treated that give an object its special character.

My days are a balance between family life and my creative work. I have two children, and it is very important to me to be present for them while continuing to develop my work as a designer and build Moonilin.

Every day is different, so I have learned to be flexible and find creative time between the rhythms of family life. Some days are focused on design and prototypes, others on production or business decisions. Finding this balance is part of my daily life, and in many ways, it has also taught me to use my time with greater focus and purpose.

My advice would be to stay curious and take the time to discover your own design language rather than trying to follow every trend. Learn about materials, craftsmanship, and how things are actually made, because this knowledge gives you freedom as a designer.

Also, do not be discouraged when an idea does not work immediately. The creative process can be uncertain and sometimes frustrating, but those difficult moments often lead to something unexpected. Be patient, keep experimenting, and stay true to what you want to express.

Tasarımcı olmanın en güzel yanlarından biri, bir fikri, duyguyu veya hikâyeyi somut bir şeye dönüştürme özgürlüğüne sahip olmak. Bir zamanlar yalnızca hayalinizde var olan bir şeyin gerçeğe dönüştüğünü görmek çok özel bir duygu.

Zorlayıcı tarafı ise tasarımcıların kendi çalışmalarına karşı oldukça eleştirel olabilmeleri. Bazen bir tasarımın gerçekten ne zaman tamamlandığını bilmek zor olabiliyor ve doğru formu ya da detayı bulma arayışı oldukça yoğun bir sürece dönüşebiliyor. Ancak bu sürekli sorgulamanın, aynı zamanda bizi geliştiren şeylerden biri olduğuna inanıyorum.

My golden rule is that every element of a design should have a reason to exist. Form, material, detail, and function should support the same idea rather than compete with one another. I believe good design does not need unnecessary decoration; when the balance is right, the design can speak for itself.

I believe observation, curiosity, and the ability to think creatively are among the most important skills for a designer. Technical knowledge is essential, but understanding materials, craftsmanship, and how something is actually made is equally valuable.

A designer also needs patience and the ability to question their own work. Most importantly, you need to remain open—to new ideas, new techniques, and unexpected sources of inspiration.

My most important tools are still a pencil and paper. I can work with Adobe Illustrator and Photoshop, but I feel more connected to the creative process when I draw by hand. There is a freedom and spontaneity in sketching that I really enjoy, especially when an idea is just beginning to take shape.

Digital tools become useful later for developing and refining ideas, while books, films, materials, textures, and everyday observations are all part of my wider creative toolbox.

Managing time is very important to me, especially because I balance my work as a designer with being a mother of two. I try to organize the practical parts of my work carefully and create focused periods for designing.

At the same time, I have learned not to force the creative process too much. Some ideas develop quickly, while others need time to mature. For me, good time management is not only about working efficiently, but also about knowing when to give an idea the space it needs.

There is no fixed timeframe for me; it really depends on the design. Sometimes an idea comes together quite naturally, while other designs need much more time and several attempts before they feel right.

The process includes developing the initial concept, sketching, choosing materials, refining proportions and details, and then working through prototypes. I do not like to consider a design finished simply because a certain amount of time has passed. For me, it is finished when the form, function, material, and original idea finally come together.

Probably the question I am asked most often is, “Where do your ideas come from?” I always find it interesting because there is never just one answer. Inspiration can appear in very different ways, and sometimes even I do not know where an idea will lead when it first begins. That unpredictability is one of the things I enjoy most about designing.

One of the most important experiences in my career was starting my professional journey in the leather industry. I had already experimented with leather in some of my university projects, but working with it professionally was a completely different experience. In my first job, I also had the opportunity to work with different types of leather, including exotic leathers.

Coming from a fashion design background, I immediately felt how different leather was from fabric. Its texture, structure, and character required a different way of thinking and designing. This experience deepened my interest in the material and had a lasting influence on my journey toward designing leather bags and accessories.

Today, my main focus is Moonilin, so I primarily design for the women I imagine wearing and living with our pieces. They are women who appreciate quality, thoughtful details, and timeless design rather than choosing something simply because it follows a trend.

For me, understanding the person who will eventually use a design is very important. I want the pieces I create to become a natural part of her life while still carrying their own distinctive character.

I especially enjoy design work where I can transform an idea or a story into a three-dimensional object. Handbags give me this opportunity because I can work with shape, proportion, texture, construction, and functionality all at the same time.

What I enjoy most is seeing how an initial sketch gradually develops through the material and becomes something that can be touched, carried, and experienced. For me, that transformation from an idea on paper into a real object is one of the most exciting parts of designing.

My main focus for the future is to continue developing Moonilin and gradually introduce the brand to a wider international audience. I want to build new collections while continuing to refine the design language and identity of the brand.

At the same time, I would like to keep exploring new forms, materials, and ideas without losing the values that are important to me: thoughtful design, quality, functionality, and timelessness. For me, the next step is not simply to grow, but to grow in a way that remains true to the original vision behind Moonilin.

I develop the creative concept and the designs myself, from the initial idea and sketches to the choice of form, materials, and details. It is important to me that each design carries my own creative vision.

However, bringing a design to life is a collaborative process. I work closely with skilled artisans and the production team during prototyping and development. Their technical knowledge and craftsmanship are very valuable in transforming my ideas into a finished product while preserving the original character of the design.

I am continuously developing new ideas and exploring new directions for Moonilin. At the moment, I am particularly interested in evolving the brand’s existing design language through new forms, proportions, materials, and details.

I usually prefer not to reveal a design too early, because I like to give an idea the freedom to change during the development process. For me, part of the excitement is allowing a design to find its final character before sharing it with others.

People can contact me through the official Moonilin website, by email, or connect with us on Instagram. I am always happy to hear from people interested in design, collaborations, press inquiries, and Moonilin.
Website: www.moonilin.com
Email: info@moonilin.com
Instagram: @moonilin.design

I would also like to mention how valuable design competitions can be for designers. When a design that you have developed with so much thought and effort is evaluated by an experienced and respected jury, the experience itself is very meaningful. Receiving positive recognition gives you motivation and confidence, but it also encourages you to look at your own work from new perspectives.

For me, these experiences are not only about receiving an award. They become part of your journey as a designer, encouraging you to keep questioning, exploring new ideas, and pushing yourself further creatively.