We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Cansu Türkdoğan Şimşek ("CT").
Cansu Türkdoğan Şimşek, a jewelry designer and artist, has been blending traditional techniques with innovative design concepts for over 16 years. Known for her deep connection to the cultural richness of Bodrum, Cansu draws inspiration from both historical artifacts and the surrounding natural environment. Her work reflects a commitment to craftsmanship, storytelling, and emotional depth, producing jewelry that speaks not just to the eye, but to the soul. As the founder of Cansui, a jewelry brand that embodies the spirit of the Mediterranean, Cansu has pioneered a path that merges the old with the new, offering unique collections that bridge the gap between timeless traditions and modern aesthetics. Her pieces are celebrated for their intricate detail, use of sustainable materials, and powerful cultural references. In addition to her jewelry creations, Cansu has made significant contributions to the arts through her teaching of traditional jewelry techniques and lost wax casting, passing on her knowledge to the next generation of artisans. Her work has been featured in prestigious exhibitions, including at the Bodrum Underwater Museum, and she has garnered international recognition for her innovative approach to jewelry design. Cansu's contributions go beyond her designs; she is passionate about creating a lasting legacy through her work, leaving behind pieces that future generations will study and admire. Through both her artistic practice and her teaching, she helps to shape the future of jewelry design while preserving the heritage of the past.
Cansu Türkdoğan Şimşek Designs
We are pleased to share with you original and innovative design work by Cansu Türkdoğan Şimşek.
Cansu Türkdoğan Şimşek Design - Notre Dame Earrings
Designer Interview of Cansu Türkdoğan Şimşek:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
CT : Growing up in Bodrum wasn't just about living in a town—it meant forming a deep emotional connection with nature, light, and history. I come from an artistic family; my father is an artist, and I was raised in an environment full of creativity and emotional expression. I studied gemology and jewelry design, but what truly made me a designer was time, observation, and working with my hands. For me, this is not just a profession—it's a way of experiencing life.
DI: Can you tell us more about your company / design studio?
CT : Cansui is a design brand that carries the spirit of the Mediterranean—its light, calmness, and character. Our studio is also a place of education and production. I’ve been teaching traditional jewelry-making techniques for years while also developing collections, working with companies, and managing international sales. Everything—design, production, communication—happens within my workshop alongside a dedicated team.
DI: What is "design" for you?
CT : Design, for me, is an internal call. Sometimes it’s triggered by a word, a feeling, a color, or a shadow. It’s the moment when emotion and intuition meet craftsmanship. It’s how I externalize my inner world and give shape to silence. Design is a way of making the invisible visible.
DI: What kinds of works do you like designing most?
CT : I love designing pieces that leave a mark—emotionally and symbolically. I’m drawn to minimal forms with depth, and pieces that convey something beyond their appearance. I believe jewelry is a personal form of expression, so I always aim to create wearable works with strong emotional resonance.
DI: What is your most favorite design, could you please tell more about it?
CT : One of my most special collections is the “Bird’s Eye” series. It reinterprets the geometry and symmetry of historical structures as seen from above—like the Notre Dame or Hagia Sophia—and transforms them into wearable forms. It’s not just about design, but about carrying time, memory, and cultural connection through form.
DI: What was the first thing you designed for a company?
CT : I created a bracelet collection inspired by Seljuk motifs. It was a meaningful experience—taking elements from our history and reinterpreting them with a contemporary aesthetic helped me find my own design language. That series still holds a special place in my journey.
DI: What is your favorite material / platform / technology?
CT : Lost-wax casting is my absolute favorite technique—it gives me so much freedom in form and expression. But my very first love was the jeweler’s saw, and it still has a meditative effect on me. In production, we also use laser machines for precision, blending traditional techniques with modern tools. My tablet has become an extension of my body—I use it for sketching and research. And above all, I need soft music and solitude to really create.
DI: When do you feel the most creative?
CT : Early in the morning before the world wakes up, or late at night when everything is quiet. When the city and the people are asleep, my mind becomes crystal clear. Those silent hours are when my creativity flows most freely.
DI: Which aspects of a design do you focus more during designing?
CT : First and foremost, the emotion it gives. What does the piece feel like when you look at it or wear it? Then comes ergonomics. I always test my designs on myself for several days before I put them up for sale. Comfort, balance, and how it lives on the body are key.
DI: What kind of emotions do you feel when you design?
CT : Pure excitement. For me, design is a burst of internal joy—a kind of energy that moves me from within. Sometimes even a single idea is enough to flood my entire body with that rush. In those moments, time disappears and I’m entirely in flow.
DI: What kind of emotions do you feel when your designs are realized?
CT : Every new collection feels like a birth to me. Until the moment of “delivery,” it’s an emotional, exciting, but also exhausting and impatient process. But once that birth takes place—once the piece exists—I get to enjoy it like a mother meeting her child. There’s a deep sense of peace and satisfaction in seeing the story take shape.
DI: What makes a design successful?
CT : It all starts with what it makes you feel. A successful design evokes something in you—it stirs emotion. But it also needs to be well-balanced in function. I pay great attention to ergonomics. It’s not enough for something to be beautiful; it has to live with the person. That’s why I always test each piece on myself before offering it to anyone else.
DI: When judging a design as good or bad, which aspects do you consider first?
CT : A bad design, for me, is one that lacks aesthetics or originality—it feels overly familiar or rushed. It may also be made with low-quality materials or poor craftsmanship. A good design, on the other hand, makes you feel something. It’s well thought-out, from the piece itself to its packaging and presentation. You can feel the care and thought that went into it.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
CT : I live in a country that has gone through very intense social periods in recent years. Every time something happens, I feel this deep emotional surge, and I express it—through design, through writing. And I believe I must. Designers should be more than just creators of beautiful objects. We have a responsibility to support, uplift, and reflect the experiences of the society we live in. Sometimes, the jewelry we wear is simply a joy. But other times, it quietly speaks for what we stand for.
DI: How do you think the "design field" is evolving? What is the future of design?
CT : Design is becoming more and more intertwined with technology. Tools like AI, 3D modeling, and digital platforms are speeding things up—but that speed can sometimes dull our creative instincts. I’m not against technology; I just believe we have to preserve human emotion within it. If we can do that, the future holds immense beauty. AI might make some things easier, but intuition and emotion will always be what gives design its soul.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
CT : My most recent exhibition was in September, at the Hakan Aykan Art Gallery in Bodrum. It was called “Breath of Water”—a collection inspired by the sea, using natural sponge elements. It was more than a presentation; it was a personal statement. I’m currently searching for the right space for my next exhibition. September feels like a good month again—it aligns well with Bodrum’s slower pace and my own rhythm.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
CT : Inspiration doesn’t arrive like lightning—it builds up quietly. It’s about observing, listening, and collecting. Bodrum’s nature, light, and layered history are constant sources. Travel, books, architecture, and even everyday encounters all contribute. I keep notes, sketches, words… sometimes one color or sentence sparks an entire collection. The key is to stay mentally open and emotionally alive. That’s where my creativity begins.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
CT : In my early years, I tried many different styles. People would often say, “I can recognize your designs right away,” which made me happy—but I still didn’t fully know what my style was. Then I asked myself: “Who am I?” I was a child born in Istanbul, raised with an urban culture, but also someone who grew up running barefoot on the pebbles of a small coastal town in Bodrum. That duality—city and sea, structure and softness—shaped my design identity. My style reflects this blend: minimal yet warm, grounded yet expressive.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
CT : I live in Bodrum, one of the most beautiful places in Turkey. And yes, both Bodrum and Turkey deeply influence my work. These lands carry layers of history, texture, and emotion. Living here nourishes my spirit and makes my work more grounded. But there are challenges too—logistically, it’s harder to access materials or industry connections compared to a major city like Istanbul. Still, I wouldn’t trade the inspiration this place gives me for anything.
DI: How do you work with companies?
CT : We offer end-to-end services—from consulting to design and production. I begin by truly listening to their story, their needs, their goals. Then I ask for trust. When they allow me and my team to guide the process freely, the results are always stronger. But when the approach is overly cautious or too controlling, it limits the creativity. Trust and space are key to meaningful collaboration.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
CT : A good designer must be multidimensional. Even if their personal style is modern, they should be able to understand the brand across from them and create something unique for each client. They should also have a strong grasp of production processes and be capable of turning a concept into a functional, ergonomic product. Once you’ve chosen a designer and handed over the project, trust the process. Constant interference only shrinks the creative space. Creativity needs room to breathe.
DI: Can you talk a little about your design process?
CT : Everything starts in my mind—quietly and gradually. Once the idea takes root, I go through a phase of deep observation and research. I let it build up inside me. Then, at the right moment, it all pours out—usually during a quiet time with pen and notebook. After forming the concept and shape of the piece, I move into the production phase. The form and technical structure come together, and then my team helps complete the rest. It’s a mix of intuition, craft, and system.
DI: What are 5 of your favorite design items at home?
CT : I love our round teak table from Uzaq Home. It’s made from dozens of wood pieces and brings a lot of joy and warmth into our space. A tiny Japanese “prosperity bowl” sits on a shelf—it’s small but emits a lovely energy that lifts me. I have a ceramic horse drawing by Tevfik Karagözoğlu that means a lot to me emotionally. From my own “Bird’s Eye” collection, I’ve created both a jewelry piece and a mirror inspired by the Ravenna Basilica—I use them both with pride at home. And finally, an antique nightstand. Its history, its aged texture… it feels more like a memory than an object.
DI: Can you describe a day in your life?
CT : My alarm rings at 6:45 AM. I wake up my older son and send him off to school. Then I make my coffee and sit quietly on our garden swing. Sometimes I meditate; sometimes I just look at the flowers and sky. I do a bit of light yoga, maybe plan my day—unless my younger son wakes up early and comes over for a sweet morning cuddle. After I drop him at preschool, I head to the studio. By then, the team has already opened up. I take my tea to the balcony, watch the view, and prepare for the day. Once I step inside, time flies—production, meetings, private lessons, visitors… by 4:45 PM, my phone alarm reminds me to pick up my son. We go to the park or the sea. My older son enjoys the peace of the house alone. In the evening, we tidy up and prepare the kitchen for my husband, who arrives around 6 PM and starts cooking for the family. We always sit down for dinner together. Afterward, it’s either movie night or everyone does their own thing. I might paint, watch something, or just enjoy the quiet of the garden. Then bedtime for the kids—and finally, “parent time.”
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
CT : Don’t give up. Persistence is everything. Whatever you do, always ask yourself: “How can I do this better?” And never stop searching. Learn every technique you can, but don’t lose your own voice in the process. Curiosity, effort, and inner rhythm will guide you further than talent alone.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
CT : Being a designer means seeing the world with heightened sensitivity. You find inspiration everywhere—details speak to you, and beauty reveals itself in the ordinary. It keeps your spirit alive. But that same sensitivity can be overwhelming. Your mind never really switches off. Ideas, doubts, sparks—they follow you everywhere. It can be exhausting. But it’s also the only way I know how to live.
DI: What is your "golden rule" in design?
CT : Do what hasn’t been done before—and do it as best as you possibly can. For me, originality is everything. The question I always ask myself is: “Is this truly mine?” And once that answer is yes, I do everything I can to bring it to life with quality, emotion, and respect.
DI: What skills are most important for a designer?
CT : To me, one of the most vital skills is listening—to materials, to emotions, to stories, and to your own instincts. Observation is key. So is technical know-how. You also need patience—some ideas take time to mature. And above all, courage: to try, to fail, and to begin again.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
CT : Lost-wax casting is my favorite technique—it gives me incredible creative freedom. I also use traditional jewelry-making techniques and our in-house laser machine for precision cutting. My tablet is like an extension of my hand—I sketch and research with it constantly. My library includes many art books, but also titles from unexpected fields that help spark inspiration. And most importantly: calm music and solitude. Without those, nothing flows.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
CT : I’m someone who slows down when I have too much time and speeds up when time is short. The less time I have, the faster and clearer my solutions become. But when there’s too much time, I tend to overthink and delay. So I’ve learned to embrace structure—small deadlines, focused work blocks. That’s when I’m most productive.
DI: How long does it take to design an object from beginning to end?
CT : There’s no set answer for that. Each design has its own rhythm. Some ideas live in my head for weeks or even months—gathering, maturing—until suddenly they take form very quickly. Others begin fast but get stuck in a detail—a curve, a clasp, a stone—and that alone can stretch the process for weeks. I only consider a design “done” when it gives me that unmistakable feeling: yes, this is it.
DI: What is the most frequently asked question to you, as a designer?
CT : I often hear, “How did you think of this?” And the truth is—I feel more than I think. My process is driven by intuition, not formulas. Another frequent question is: “Can you design something just for me?” And honestly, that’s one of the greatest joys—helping someone tell their story through a piece they wear close to their body.
DI: What was your most important job experience?
CT : One of the most defining moments for me was preparing my first large-scale collection. It challenged me technically, emotionally, and creatively. Another key experience was designing a custom collection for a brand. Merging my voice with theirs required both sensitivity and structure. Both of these taught me so much about who I am and how I work—and they still shape the way I approach every new project.
DI: Who are some of your clients?
CT : I’ve worked with a wide range of clients over the years. Some of Turkey’s most recognized figures have worn Cansui pieces—Ayşe Arman, Gonca Vuslateri, Işın Karaca, Çiçek Dilligil, Sedef Avcı, and Cemil İpekçi among them. But I also work with brand-new companies that entrust us to help define their visual identity from scratch. And I collaborate with artists like sculptors and painters, creating miniature wearable versions of their own works—which is incredibly rewarding.
DI: What type of design work do you enjoy the most and why?
CT : I’m most drawn to meaningful design—pieces that carry emotion, symbolism, or a story. I love working on minimalist forms that leave space for interpretation but still feel intimate. Designing something wearable, personal, and timeless excites me deeply—especially when it reflects both the wearer and the culture it comes from.
DI: What are your future plans? What is next for you?
CT : I’m currently working on expanding Cansui’s presence internationally—especially in the U.S. and Europe. At the same time, I’m developing new collections. One of them evolves my “Breath of Water” series, using real sea sponges in new ways. Another is a men’s collection called “Karia,” and I’m also creating a contemporary line based on traditional Anatolian rug motifs. I’m also preparing new workshops and dreaming of a unique exhibition that combines story, form, and experience in an unconventional space.
DI: Do you work as a team, or do you develop your designs yourself?
CT : The designs are all mine. I create the concept, sketch the form, and set the tone for the piece. Up until a few years ago, I also managed the full production myself. But as demand grew, I built a team. Now, I develop the prototypes and oversee the rest of the process with my team, who help bring everything to life.
DI: Do you have any works-in-progress being designed that you would like to talk about?
CT : I’m currently expanding the “Breath of Water” collection. I’m experimenting with natural sponges and treating them almost like amber—creating forms that are raw yet refined. The “Karia” men’s collection is nearly in production, and I’m excited to finally bring it to light. I’m also developing a new line inspired by Anatolian rug motifs—turning deeply symbolic patterns into modern jewelry.
DI: How can people contact you?
CT : The easiest way to connect with me is through Instagram: @cansuidesign is where I share updates, behind-the-scenes content, and new collections. You can also visit www.cansui.com or email me directly at cansuidesign@gmail.com. And if you’re ever in Bodrum, my studio is open by appointment—I’d love to welcome you in person. That’s where you truly feel the soul of Cansui.
DI: Any other things you would like to cover that have not been covered in these questions?
CT : For me, design is more than creating objects—it’s about leaving a trace. Each piece I make carries a bit of my story, a memory, a feeling. Cansui isn’t just a brand; it’s a reflection of my path, my geography, and my heart. If you're reading this, perhaps our paths are already crossing—and maybe one day, one of my pieces will accompany your story too.