Inspired by a passion for preserving handcrafted skills, Deniz's designs celebrate the slow and thoughtful process of textile creation. Her work reflects her dual German and Turkish heritage, inviting us to appreciate the craftsmanship and dedication that once defined textile production.
- Which textile tradition or technique from your heritage do you feel holds untapped potential for shaping a regenerative future? How could it inspire or transform contemporary practices?
The practice of hand embroidery holds significant potential for shaping a regenerative future. It inherently encourages mindfulness, patience, and a slower, more intentional way of creating—values that resonate strongly in today’s fast-paced world. When you work on hand embroidery, you engage in repetitive, meditative movements that require time and focus. There’s no way to rush the process; each stitch must be made deliberately. This method of working teaches us to embrace slowness and be present in our craft. I believe this spirit could inspire more conscious, reflective practices in contemporary design, reminding us of the value in taking time and honoring the process.
- As you engage with textiles during this residency, what personal or ancestral threads are you reconnecting with? How do they influence your current creative direction?
As a textile designer with German, Turkish, and Italian roots, the residency became a very personal journey of exploring and reconnecting with cultural identities. It gave me the opportunity to reflect on how these different heritages could intersect through textiles.
I found it incredibly enriching to gain insight into Tuscany’s textile traditions and production methods.
What struck me most was the passion and pride that local artisans and companies bring to their work.
I was also deeply impressed by the innovative and sustainable approaches they pursue. These experiences have left a lasting impact and will definitely influence the direction of my future creative work.
- How has working alongside artists and thinkers from other disciplines influenced the way you approach material, form, and narrative in your textile work?
Spending two weeks surrounded by creatives from diverse disciplines was incredibly inspiring. Each person brought a unique lens to the table—whether it was a focus on color perception, material experimentation, or the social and communal dimensions of design.
While I usually concentrate on specific textile techniques, this experience encouraged me to explore different ways of thinking and to broaden my perspective.
I’ve come away with new ideas and approaches, and I’ll definitely carry this interdisciplinary mindset into my future practice. It reminded me that a single idea can unfold in many ways depending on the lens through which you view it.
- Are there textile-related habits, production systems, or aesthetics that you believe no longer serve us? What new patterns—conceptual or literal—are you weaving in their place?
Overproduction is a major issue in the textile industry. We manufacture far more than we actually need, leading to massive waste and overflowing landfills. Seeing this firsthand during the residency made it even more tangible for me. Concepts like repairing, sharing, and upcycling garments are already offering alternative paths—and I believe we need to bring these practices into the mainstream.
I see growing interest in community spaces where people can learn to mend or repurpose their clothes, and I think this kind of hands-on, shared knowledge is key to shifting mindsets. Another promising approach is the recycling of old textiles into new yarns and fabrics. While it's not a singular solution, it adds an important layer to the broader move toward circularity.
- If you could imagine a textile ecosystem based on circularity, care, and community, what would it look like? What role would your practice play in sustaining it?
In my vision of a regenerative textile ecosystem, overproduction would be replaced by small-scale, regional production using local, biodegradable materials. While this may sound like a utopian ideal, I believe we need to aim high if we want real change.
In such a system, I see my role as an educator and facilitator—teaching people how to repair their garments, for example by using embroidery to mend holes or to creatively embellish worn-out pieces like jeans or blouses. I also love sewing and pattern making, and I can imagine offering classes that use discarded textiles as raw materials.
Sharing knowledge, working collaboratively, and fostering community-based learning are, in my view, essential steps toward building a more sustainable and caring world.
Photo Credits:
- Duncan Smith & Jeanette Lemmerz
- Ornamenta 2024, Meyers & Fügmann
- Zweigart & Sawitzki
Connect via IG: @deniz_celiktemel
Pictures by Emma Collins @ectextiles
