Hometextile - Sayı 87 / Issue 87 by TETSİAD

SEPTEMBER 2015

TURKISH HOME TEXTILE INDUSTRIALSTS’ AND BUSINESSMEN’S ASSOCIATION

ISSUE: 87 SEPTEMBER 2015

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PREFACE

A Safe Harbour: Turkey Hello, dear colleagues, There are hot days being experienced in many respects in many countries across the World. However, unfortunately, human beings themselves, as always, are the sole responsible for most of the things being experienced. First of all, I would like to draw your attention to the most significant problem of the era in which we live, GLOBAL WARMING, from which we are more and more being affected these days. Resulting from the increase of the temperature on the earth’s surface due to the greenhouse effect arising from the gases released into the atmosphere by people, this problem is posing an increasingly large threat due to the lack of the sufficient sensitivity and measures despite the warnings that have been given for decades. Climate change is one of the greatest economic, social and environmental threat for our world. If the measures are not taken, the worse disasters will be inevitable. After drawing your attention to this important global issue once again, I would like to mention the economic fluctuations experienced in the world economy in 2015. We see that the economic hotness and the related problems are being experienced in several countries of the world. We have been undergoing hot days in terms of some problems that we see in the European Union, the fluctuations experienced in the United States, the South American economies, especially in Japan and Brazil, and the Middle East economies. As you see, the mastership of the captain will become evident when he sails in such rough seas. Those who can take their ships into a safe harbour by handling successful manoeuvres will gain an economic advantage … Therefore, as in all economic matters, it is of great importance to make right decisions and use our values rationally when making a purchase in the Home Textile sector; to make

right decisions, the necessary environment of trust for a sustainable cooperation, to be able to deliver the demands in the quality and time required and many more reasons. When we evaluate many reasons, all arrows indicates the direction of Turkey. Turkish Home Textile sector causes to be spoken highly of itself by means of the great understanding and power of the production quality and increasing its share obtained from the world markets more and more every year. The ability for boutique production of the Turkish producer has increased Turkey’s charm for the buyers who have gotten into a habit of placing frequent orders is small quantities. Especially, that we have shortened the delivery time by way of the advanced technology that we have and the geography of our country has been the most significant motive to be preferred. In each passing day, there appear so many reasons to prove that Turkey is the right address and the right choice. “Made in Turkey” brand takes its roots in the conscious of the people as an image that makes a difference and by means of which the purchaser will gain profit. We invite you our EVTEKS and HOME&TEX exhibitions, see you in İstanbul Best regards.

Yaşar KÜÇÜKÇALIK Chairman

Turkish Home Textile Industrialists’ and Businessmen’s Association

INDEX INDEX 4

HOMETEXTILE On Behalf of Turkish Hometextile Industrialists’ and Businessmen’s Association Commercial Enterprise

Chairman

Yaşar KÜÇÜKÇALIK

Deputy Chairman

Members

Ali Sami AYDIN Zafer KATRANCI

Ufuk Oçak, Erdoğan Baydemir, Mehmet Fatih Dereköylü, Bülent Koçak, Vehbi Akman, Can Tanrıverdi, İsmail Ağaoğlu, Remzi Kırayoğlu, Kemal Aydın Ulusal, Aziz Sarı, İrfan Pamuk, Cenk Kemahlı, Mustafa Kösemusul, Cemal Çetinkaya, Murat Zümbülyuva, Faruk Hürdana, Osman Kuman Çağal

Secretary General Cengiz ÖZMEN

Financial Secretary Abdülhadi KÖSEOĞLU

The Board of Auditors Ali Rıza Hasoğlu, Mehmet Baykent, Şerafettin Demir, Ahmet Serdar Sütçüoğlu, Halim Usta, Yavuz Demirel

INDEX INDEX 16

Traditional Cotton Print

Gauze Fabric

Alaca Weaving

Pomak Hand Woven Goods

Made Of Felt

The Impact Of Textile

Job Stress and Coping Strategies

Turkish Coffee

Where Life is Slow: Seferihisar

Publication

Editor in Chief (Responsible) Haşim Büyükbalcı

Editor Yiğit Sütçü

Advertisement Buket Tanrıöver

Contributors Atilla Bulut Ömür Işık

Print Elma Basım

Address: İstanbul Dünya Ticaret Merkezi A3 Blok Kat:16 No:461 Yeşilköy-Bakırköy-İstanbul Tel: +90 212 292 04 04 Faks: +90 212 292 23 04 www.tetsiad.org - info@tetsiad.org

ANALYSIS

A SAFE HAVEN, TURNING THE CRISIS INTO OPPORTUNITIES:

TURKISH HOME TEXTILE INDUSTRY It shall not be hard at all to project the steady growth of Turkish home textile industry as we consider Turkey’s qualified labour force, high quality production skills, designing diversity and future oriented investment.

ürk, which has an important power in the world home textile sector, is providing its products to be used in tens of countries around the world. On the contrary to the habitual, Türk is performing its competition in the global markets with the added value on the product, not with the price. As China holds the largest share as well as in many industries, while

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India, Pakistan, Turkey, South Korea, Germany, Taiwan, Italy, USA, Belgium, Japan and France respectively follows.

OBJECTIVE: SECOND PLACE IN THE WORLD Turkish home textile industry, in respect of turnover, is at the fourth position in the world, after China, India and Pakistan. Both these

ANALYSIS

three countries are far from creating their own fashions in home textile. Considering the countries that can create their own fashions, Turkey is at the first position in home textile industry. In the forthcoming period, our objective is to be the second in the world by overcoming our two competitors those are in front of us in respect of turnover as well. General economic data reflect a general slowdown and the nervous situation that is lived geographically in special reflects a particular atmosphere of crisis more strongly. At this point, the developments lived in Turkish home textile industry include a different vision from the general global economy. Turkish home textile industry has shown a development much higher than the global economy parallel and as of 2008, it has continued the growth trend of which it is inside. In 2014, Turkish home textile industry reached a domestic market sale of 8 billion Dollars. Adding our export turnover and our trade with the neighbouring countries, this amount is calculated as 5 billion Dollars. Thereby, the scale of 13 billion Dollar Turkish home textile industry has emerged in 2014. Turkish home textile industry carries out new market researches every year and determining new targets, it pursues to sustain this growth rate without decrease. Should our estimation of 2015 growth rate is evaluated

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ANALYSIS

numerically, it is in the direction that it can be on the rate of 6-8%. In general terms, Turkish home textile industry continues to be one of the most important industries of our country in respect of both export amounts and also its continuous growth rate.

WHY TURKEY? Despite some particular problems that is lived in the global economy (the economic regression lived in the European Union countries, the problem of Russia and Ukraine, the disturbance being lived within the Middle East geography),Turkish home textile industry achieved to continue its growth. The biggest factors in this are our superiority of design, the fact that we produce collections that are distinguished and having high added value, our developed machinery plants, technology and understanding of quality. Despite the countries that continue their existence with price competition in the global trade, Turkey has raised the bar in respect of quality and continues to increase.

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ANALYSIS

PROVIDING ADVANTAGE WITH ITS GEOGRAPHICAL POSITION The economic stagnation that the world is within has reached a size that reflects on all industries. This situation has started to obstruct making purchases in big quantities. At this point, especially the high tonnage purchases being made from the Far East especially seems to lose its strategic meaning. In turn, this shall contribute in the countries which are capable of making boutique production to distinguish. Turkish home textile industry, which will be able to use its geographical closeness to large markets as an advantage, shall distinguish even more in the forthcoming period with its competence in this sector and its quality.

SUSTAINABLE QUALIFIED PRODUCTION Turkish home textile industry, which has the production capacity to carry out the production of any orders received, gives confidence in respect of continuity as well with its steady economic growth. Our industry is at a position that can distinguish in this subject with its present developed machinery plant and technology. The matter of collection as well, distinguishes as one of the important factors. The industry’s actors, which have the will to purchase goods from Turkey, shall own the products they want easily and rapidly by means of benefitting from large and innovative collection contents. It shall not be hard at all to project the steady growth of Turkish home textile industry as we consider Turkey’s qualified labour force, high quality production skills, designing diversity and future oriented investment. Considering all these features, it shall be such a correct point of view to project that Turkish home textile industry’s universal power shall develop more day by day.

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EVTEKS

EVTEKS 2015, VISITED BY OVER 138 THOUSAND PEOPLE

EVTEKS 2015 CAPTIVATED “EVTEKS Istanbul International Home Textiles Fair” organized by cooperation with TETSİAD and CNR Holding, the world’s second and Turkey’s biggest trade fair for home textiles, make much of visitors 21st times this year. Over 1,000 companies and more than 2 thousand brands attended in the fair held in CNR EXPO Yeşilköy between 19 to 23 May.

“E

VTEKS Istanbul International Home Textiles Fair”, one of the world’s largest home textiles fair as with the area held, brought together the industry giants in Istanbul between 19-23 May 2015. Noting with the diversity of international participants and foreign visitors among the fairs in Turkey EVTEKS Fair was visited

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by 138.368 people this year. All innovations in the home textile sector were exhibited at the fair and fashion products were presented to the visitors. Fair was held in 160.000 square meters area in Yesilkoy CNR Expo Fair Center in collaboration with Turkey Home Textile Industrialists’ and Businessmen’s Association (TETSİAD) and CNR Holding.

Giant organization that More than 1000 companies participated with brand over 2000 was continued for 5 days.

YAŞAR KÜÇÜKÇALIK: “EVTEKS BECAME THE BRAND OF TURKEY” Speaking at the opening of the organization Yaşar Küçükçalık

TETSİAD Chairman said “Renewing itself every year, going further than the previous year, EVTEKS fair met with audiences again with different concept this year; EVTEKS on agenda of everyone dealing with textiles in the world has become a brand in itself” about EVTEKS Fair scored a phenomenal growth in last 21 years. Indicating

that very significant progress of textile sector of space in Turkey’s Yaşar Küçükçalık said “Today, 16% of 750 exhibitors at the fair is located are foreign participants. Our goal is to grow the fair as helpful to our country and EVTEKS.” Indicating a growth of home textile sector in 2014 despite the global economic adversities

Küçükçalık said “$ 8 billion of Turkey’s export volume of 13 billion dollars is domestic trade, 3.4 of $ 5.5 billion in exports is exporters’ unions and 2.1 billion dollars is shuttle trade figures. One of the most important elements are fair for us to reach our goals. Fairs are indispensable not only in the sector but also in the country.”

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EVTEKS

2016 TRENDS REVEALED Famous designers showcased their 2016 home textile trends in the fair where more than 2 thousand brands take place. Seminars were given by leading professionals in the home textile sector, the world-famous trendsetters and local and foreign designers at the fair. The trend field of EVTEKS 2015 organization was designed by Nelly Rodi team working under the leadership of famous designer Vincent Gregoire this year as the last three years. The giant five-day exhibition where all the innovation on behalf of home textiles include left its mark on the home textiles

industry in 2015. EVTEKS Fair 2015 was attended by a large number of countries such as Germany, USA, Australia, Austria, Azerbaijan, UAE, Belgium, Bulgaria, Algeria, Czech Republic, Denmark, Morocco, Finland, France, South Africa, Netherlands, England, Iran, Spain, Israel, Sweden, Switzerland, Italy, Japan, Canada, Kazakhstan, Kyrgyzstan, Kuwait, Lithuania, Lebanon, Hungary, Egypt, Moldova, Norway, Oman, Uzbekistan, Poland, Portugal, Romania, Russian Federation, Saudi Arabia, Tunisia, Turkmenistan, Ukraine, Jordan and Greece invited by the Ministry of Economy.

FESTIVAL MOOD IN EXHIBITION Visitors were greeted by a colorful surprise in EVTEKS 2015 Fair. Exhibition area decorated with colorful fabrics has attracted great interest from visitors. Exhibition space was decorated with home textiles fabrics by inspiring from Yarn Bombing, a street art current occurring in 2004, offered the festive mood to visitors. One of the most interesting displays at the fair was fabric covered sports car. Colorful trees and benches came to the attention of those who want to take pictures. A total of 2 thousand square meters of fabric were used for areas covered with colorful fabric in fair; More than 120 trees, many banks and service vehicles were coated with fabric. 4 No trees were harmed during applications.

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TRENDS

New Trends at Homes: C 2016 trends of home textiles have been announced at the 21st EVTEKS Fair in collaboration with the Turkish Home Textile Industrialistsâ&#x20AC;&#x2122; and Businessmenâ&#x20AC;&#x2122;s Association (TETSIAD) and CNR. According to the announcement, the new trend for 2016 will consist of contradictory styles.

haping the future home trends under the guidance of famous designer Vincent Gregoire, the French Trend Design Office Nelly Rodi has announced the major colors, patterns, materials and final touches of the 2016 Spring-Summer and Fall-Winter seasons at the

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EVTEKS Fair that was held on May 19-23, 2015. According to the trend tendencies that were announced at the fair, daring and cheerful styles that defend the exchange and interactions of senses for the world home textiles in 2016 are awaiting us.

TRENDS

s: Contradictory Styles THEATRICAL THEMES AT HOMES

016 trend of Nelly Rodi combines contradictory styles together. The decoration once again supports and completes theatrical themes that are inconsistent with the perspective of creating eclectic ambiances. Seasonal stillness falls behind and we need to be involved in a brand new flow that offers continuity that activates a new dynamism by ignoring the passivity. Innovation and creativity is in effect in the 2016 home textile trends. Forms that will invoke feelings of comfort and security among its consumers

will prevail with an elegant pursuit of harmony. The new trend glamorizes the upcoming season with touches of surprises and fantasy for the sake of providing a harmonious attitude towards the daily routine with more delicacy and confidence. The 2016 home textile themes will reflect a refined, aesthetical season. The 2016 home textile fashion, that appeals to those who prefer a sophisticated and a refined approach, has 6 themes that are inspired by history, nature and design.

THE GLAMOUR OF NATURE, DESIGN AND HISTORY

PEPLUM PARTY In pursuit of perfection and creativity, â&#x20AC;&#x153;Glamidatorâ&#x20AC;? intends to reach a style and glamour which is beyond the concerns of making the masses happy or to provide conformity. Celebrating the rebirth of power and attraction, gods and goddesses of today are inspired by the classical period accompanied by daring GrecoRoman motives. A passion that is open for stages and magnificence and the required nobility for such a style.

PENTHOUSE PASSION The soul of decorative arts in its most glamorous form along with preeminent technical knowledge. A baroque form that enables its users to experience the easy-going discrepancies with a precious and fine touch. On the one hand, it creates a highly confident theatrical and lively decoration with a strikingly fine delicacy; and on the other, it does not fear from extraordinary curves and exposes its fervor with a great display.

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TRENDS

EXQUISITE EDEN This style, which has an organic pattern designed as a fanciful, wild and enthusiastic area, offers an “experimental” spirit to its valiant consumers who are in pursuit of an incredible home. They do not fear from flirting with the artificial as their motto is “taming the future as long as the natural and synthetic genetics are coupled”.

COOL CHALET Authenticity and modernity for those consumers who pursue an almost “natural form of” naturalness. A house that is designed with a nuanced touch while on the one side reflects modernity and on the other side, a form that is completely engaged with nature. It is perfect for a spiritual retreat. A luxurious, futuristic plainness.

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TRENDS

MINERAL MOMENT The users enjoy a free adventure along with a modernized, minimalistic form that includes a rustic as well as a fine design by communing with nature without any time limits. In a quick overview, the house looks like it is not in line with the time and fashion but in fact its composition exposes all these subjects of nature, modernity and minimalism in a positively peaceful and comfortable way.

MODEST MANOR This is plainness and regality for its users. A door that is opened to Nature in a calm atmosphere. The interior is composed of handmade crafts and has a workshop spirit. They are in pursuit of warmth and entertainment in minimalistic terms, but with comfortable forms and styles.

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DESIGN

FUTURE FORESIGHTS IN HOME TEXTILE

21th EVTEKS Fair did the honours for seminars of world famous designers and trends of 2016. In seminars in which worldwide known domestic and foreign designers participated, home textile trends of 2016 season also met the sector and visitors.

n seminars organized within EVTEKS Fair which creates reaction across the globe every year it is made trends of home textile were also determined. Domestic and foreign designers participating in seminars stated that in 2016 the trends of home textile are based on the concepts of bemusement and surprise. The colours that will dominate in homes next year are; lemon rose, fushia, turquoise, golden, ultramarine blue, marmoreal white… Many experienced domestic and foreign designers such as Vincent Gregoire, Prof Dr. Nesrin Ünlü, Ahmet Kayaer, Simay Bülbül, Prof. Dr. Mehmet Zaman Saçlıoğlu, Inkrit Berbee, Jennifer Castoldi, Milou Ket, Cenk Momarje participated in seminars as speakers.

“CONSUMERS WANT TO BE SURPRISED” NellyRodi design office’s world famous designer Vincent Gregoire, the first speaker in seminars, shared the trends of home textile for the next seasons. Gregoire stating that in 2016 the trend of surprise will become prominent in home textile and decoration said: “All customers want to encounter with surprises at homes. Customer are in search

of something astonishing and grasping.” According to Gregoire in the upcoming years hand painting, hand embroidery, geometric motives, granolithic motives, Southern America effect, palm trees, exotic flowers, baroque flowers, motives of insect, fly, butterfly and bird will be dominant in home textile. Predominant colours are golden, royal and ultramarine blue, violaceus blues, indigo blue, marmoreal white.

“WE SHOULD MAKE TRADITIONAL TEXTILES A TREND IN THE WORLD”

Prof. Nesrin Önlü talking about sustainability via design in her presentation said: “We create designs as being inspired by lotus which keeps itself continuously clean and by xanthium which minimizes water and energy consumption. In this way we protect our environment while cutting down on our resources.” Thinking that with fashion and design the manufacturer can re-sale everything to customer, Önlü drew attention to recycling with these words: “We should consume fashion slowly. Design should be produced by thinking its usage areas.” Emphasizing that

traditional textiles such as silk fabric, gauze, fabrics weaved in Rize should also brought forward, Önlü said: “We cannot succeed in making our traditional cultures a trend in the world. This is our inefficacy.”

“THERE SHOULD NOT BE A COLOUR HARMONY AT HOMES” Designer Ahmet Kayaer also said that in 2016 home textile and decoration will be based on theme of surprising. Mentioning that colour harmony at homes is not important, Kayaer said: “We live without colour in Turkey. Many colours and mixed colours should coexist at homes. Colours should surprise people. We are not open to changes. When we look at Germany we see that their strong economy is a result of their being open to changes.” Ahmet Kayaer also gave information about 2016 home textile and decoration and said:“ Next year there will be animal motives such as butterfly and duck. We will use pillows intensely on plain armchairs. Stripes will be used for chairs. They will have a feel of African and Uzbek motives. Predominant colours are: fushia, rose, turquoise, silver, lemon, all tones of green, piranha grey, navy-blue.”

Vincent Gregoire

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DESIGN

Jennifer Castoldi

brocade, Indian, Iranian, Chenese cultures. Using heavy carpets on stairs as a classic is also returning at full speed. Another point is that from washed and stonewashed to every tone of denim will enter our homes and the most important accompany of them will be tartans. According to Berbee this trend will be so popular that examples of it will be able to seen on wallpapers.

“NATURALITY COMES TO THE FOREFRONT”

Simay Bülbül

Within the scope of events, world famous trendsetter Milou Ket also made a presentation. According to Milou Ket naturality is on the forefront in next years’ rising trends. Natural lighting effects, bamboo and transparency come to the forefront. Meanwhile the researches have shown that in the upcoming days we will encounter with bamboo fabrics in home textile more often because of the enduring structure of bamboo. As I am open to everything natural I will use it with pleasure of course it should become more widespread in terms of easy access. Showing itself early in this year “ombre” or with its old name “degrade” makes a fast return. We will see that it will be used with modern pastels and metallic tones.

“THE IMPORTANCE OF DESIGN” One of the leading academicians in textile sector Prof. Günay Aykaç Atalayer and Assoc.Prof. Cafer Arslan also made a presentation together. They gave detailed information about two scientists working within the body of Textile Designers Association, non-governmental organisations and design. While Atalayer made presentation themed non-governmental organisations as an assurance of creative thinking and artistic production, the presentation of Arslan was about the identity of design and its role in global market.

“MORE COLOUR” “CONCEPT DESIGNS” Within the scope of seminars world famous designer Simay Bülbül also made a presentation. The participants showed a great attention to Bülbül’s presentation named “Story in Home Textile and Concept Design” Relaying poetically the process of design in home textile from a to z Bülbül also gave important tips to young designer candidates. Bülbül stated that neither of the brands and collection could succeed without having a story and underlined the importance of story. Stating that design process should be thought as a whole, Bülbül said being a brand is the result of an enduring and intensive work.

“IMPORTANCE OF COLOUR AND LIGHT IN DESIGN” Faculty Member of Gedik University Department of Fine Arts and Faculty of Architecture Department of Visual Communication Design Prof. Mehmet Zaman Saçlıoğlu also gave a seminar entitled Colour and Light. At seminars Saçlıoğlu presented how lighting condition in work places in the process of design affects the colour features of design and how lighting in places changes the colour perception of products in sale stores. Stating that lighting is very important while presenting a product, Saçlıoğlu underlined the contribution of colour and light perception to visual quality in our day.

“2016-2017 TRENDS IN THE EYES OF LOPSTER” Famous fashion designer Inkrit Berbee also made a presentation entitled “2016/2017 Trends in the Eyes of Lopster”. Inkrit Berbee mentioned about some trends different from other designers and among these the most important one is hyper-realist patterns. Such that, the flowers from famous paintings are poured on fabrics. We will encounter with reproductions of damask,

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The presentation of Jennifer Castoldi who travelled around the within her professional working life and who shared her experiences she gaind after living and working in many countries attracted a great deal of attention. She also heralds that big flowers will appear effectively in watercolour. And this means rich colours and more colours. Another interesting point referred by Jennifer Castoldi is about the lines. Castoldi says: “Using stripes is a classic, we cannot abandon it of course but we can base it upon a concept.” For example she stated that they can use the colours used in designers’ popular and classical artworks in form of stripe according to the ordering in paintings.

“HOME TEXTILE SECTOR IN THE EYES OF DESIGNER” Within the scope of seminar program famous fashion designer Cenk Momarje also made a presentation. In his presentation entitled “New Trends in Home Textile Sector” Momarje talked over the relationship between design and designer in home textile sector. Saying that besides design one should evaluate the subject also in the eyes of designer, Mamorje underlined that the process includes both subjects.

Inkrit Berbee

HOME&TEX

A business-focused home textiles fair

HOME&TEX HOME & TEX fair, the first of which was held in 2013 and made significiant progress in the direction of being a business-oriented fair with in 2 years, keeping participiation and stand costs lower, is being prepared for opening in 2015. The introduction activities of organization that will be held between 28-31October 2015 and becoming larger by addition of two halls, continue heavily domestically and abroad.

OME&TEX 2015 fair,which will be held by collaboration of Turkish Home Textile Industrialists’ and Businessmen’s Association and CNR Holding, is being prepared for opening between 28-31October 2015 for the third time. HOME & TEX fair,becoming one of the world’s leading home textiles fairs in a short period of time since it was first held, will be held this year on different date. As a result of sectoral dialogues and surveys arranged through past two years, the fair, of which opening date was postponed from November to October,will be opened on Wednesday and closed on Saturday. The introduction activities of HOME & TEX fair,which is the second most important home textile fair in Turkey following EVTEKS, which is the largest home textile fair in Turkey ,continue heavily domestically and abroad. Moreover, through special mobile application that was prepared for this fair, attendees and guests will be able to access to information before and during the fair in an interactive way.

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Kazım Karabekir Mahallesi İleri Cad. No: 50 16270 Yıldırım/BURSA - TÜRKİYE Tel.: +90 (224) 362 10 99 Fax: +90 (224) 361 57 37 E-mail: info@beytug.com

www.beytug.com

HOME&TEX

HOME&TEX 2015 fair ,which will be held by collaboration of Turkish Home Textile Industrialists’ and Businessmen’s Association and CNR Holding , takes place in the category of world’s fourth-largest home textiles fair in its third year as numerical. The organization, grew up in the ratio of 50% in its second year comparing to the first year, is being prepared for opening this year with 8 separate halls covering net stand area of 40 thousand square meters.

8 SEPERATE HALLS, 40 THOUSAND SQUARE METERS OF NET STAND AREA

Total of 40 thousand people is expected to visit this large scaled organization, which will be held between 28 – 31 October in 2015.

HOME&TEX fair, which is being held for two years and grew largely, is at the position of being fourth-largest home textiles fair in the world through its area it will cover in square meters this year,and also with its visitor number. This organization ,expanded more with addition of two halls comparing last year,grew significiantly as it will seen when the figures of its growing was reviewed. The fair was held firstly in 2013 with 300 attendees in 20 thousand square meters net stands area. The fair, which grew and developed in 2014 comparing to previous year, was exhibited in 30 thousand square meters net stands area at that time. The fair,held between 19-22 November 2014 at CNR Expo İstanbul, was exhibited with 450 attendees. A total of 25 thousand people visited the fair. HOME&TEX fair grew in the ratio of 50 percent since the first year it was held. The organization grew in the ratio of 50 percent in second year comparing to the first year is being prepared for opening with 8 separate halls covering net stand area of 40 thousand square meters.

A BUSINESS- FOCUSED ORGANIZATION

No. of Visitors

40.000

No. of Participants

YEARS

13 014 015 2 2

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25.000 13 014 015 2 2

18.000

300 450 600

20.000

30.000

40.000

Square Meter

13 014 015 2 2

HOME & TEX fair, the first of which was held in 2013 and made significiant progress in the direction of being a business-oriented fair with in 2 years, keeping participiation and stand costs lower,is the first home textiles fair brought the special designed uniform stand application in Turkey in 2013 , trend of which is rising in the world. The stands of HOME&TEX, which is being designed and produced for all attendee companies,afford them great easiness through meeting their demands on every size of stand HOME & TEX fair, affording the attendees opportunities, such as, meeting national and international purchasers, directly ordertaking, closely tracking sectoral developments, gets the participating firms together with all the components of this expanding market at the same location.

ATTENDEE AND VISITOR PROFILE HOME&TEX fair,grew up to world’s fourth-largest home textiles fair in just two years, is being visited by recipient groups especially from Russia, the Middle East and Europe and also Independent States, North Africa and all parts of the world as well as Turkey. The organiztion where participating companies exhibit sectoral developments and innovations, presents great advantages to its attendees, such as,recognizing the rivals directly and witness their competitive advantage closely. HOME & TEX fair, third of which will be held, will host five thousands foreign visitors from 55 countries of American, European, Asian and African continents.It has been observed that the fair,to which 40 thousand local and foreign visitors are expected to participate, is center of attention.The visitor group,among which citizens of the leading countries on home textiles, such as, Russia, Iran, China, Canada, France and Spain, are also included,prefer coming to Turkey ,becoming the center of home textiles in the world ,to follow the latest developments and trends on home textiles and decoration.

TRADITIONAL

TRADITIONAL COTTON PRINT AND POINT LACE HANDIWORK FROM ELAZIG - TURKEY Handicrafts that are based on traditional knowledge and conventions of our nation, have been subject to extinction and lost its meaning in daily life with the developing technologies and cultural transformation of our times. However, the fact that handicrafts have lost its value and function in the daily routine does not mean that they are vile.

andcrafts are the most meaningful and concrete documentations of the cultural identities of people. Their value come from the raw material, pattern, production technique, mode of production with the contribution of the craftsman or a group of craftsmen as well as with the qualities of the originating region and society. Handicrafts that are based on traditional knowledge and conventions of our nation have been subject to extinction and lost its meaning in daily life with the developing technologies and cultural transformation of our times. However, the fact that handicrafts have lost its value and function in the daily routine does not mean that they are vile. On the contrary, the value of handiworks increases as their function in daily life decreases. Each work gains meaning as the cultural representative and cultural conveyor of the era that they originate. In this respect, each work should be valued as a significant cultural value and a historical heritage. Considering these aspects, protecting handcrafts and supporting their endurance is of paramount importance in terms of our historical and cultural existence. Handing down these cultural values to next generations is our responsibility and everybody should be conscious about this matter.

OUR VALUES THAT FACE EXTINCTION Cotton printing (“çit”) art of Elazığ was a very common and traditional activity throughout history, yet today it is a branch of handiwork that rarely continues in certain places. The dictionary meaning of “çit” refers to cotton printed head scarf. Experts regard cotton printing art of Elazığ as an extension of Anatolian printing art, in other words cotton printing with a woodcut. Fabrics that are patterned with the printing technique instead of embroidery is referred to as “çit” in the region.

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TRADITIONAL

The local term for the textile printing with woodcut is named as “çit printing” and the work field is known and defined as “çit work”. The çit work of Elazığ is technically categorized as a branch of die pressing. About the coloring, usually monotype pencil printings are used. Printings that were created with the die pressing technique usually made the head scarves, quilts, blankets, tablecloths, bedclothes, bags, men’s shirts and fabrics for dresses. And today, printings are made for tablecloths, couch covers, napkins, prayer rugs etc. Besides these printed works that are used for home textiles and apparels, multicolored clothes to hunt partridges, bed sheeting and covers are printed today. Another important point in cotton printing is the preparation of the woodcuts. Pear tree is used in wood carving which is another artwork on its own. It is known that cotton printing in Harput has a 200 years old history. Many of the motives used are taken from nature. Flower types, leaves, branch motives as well as animal motives such as birds, roosters, wolves, deer, lions, and camels are also used. Various associations and foundations in the region have opened up new workshops and courses in order to revive this precious artwork and raise new masters in the field.

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TRADITIONAL

PRECIOUS LACE HANDIWORKS The history of needle lace handiwork in the region even goes back to older times. Especially the point needles that reflect the perception of aesthetics and precious craft of Turkish women are like little art monuments. It is possible to state that the needle works that turn a place into a flower garden are very impressive wherever they cover by creating a magical beauty. Lace handwork is an art that passes on from grandmothers to granddaughters and are taught to any little girl who is old enough to learn. As the fixture of wedding chests like in the old times and even today, point lace head scarves are of paramount importance in terms of our cultural heritage and the cultural messages it conveys with its motives as an artwork. The lace handiworks have revived recently, thanks to new courses, competitions and expositions. Thus, laces have found their place in the market. Lace handiwork that has become a lively activity is now very famous in the region as much as the “çayda çıra” dance that is special to Elazığ. Lace handiworks have become very famous as the touristic merchandise representing Elazığ. Lace handiworks represent the feelings and powers of art of the weaver women even through their precious little motives and are regarded as art monuments. Today, this craft that is a non-spoken way of communication with its more than 200 types in our traditional culture while head scarf laces endure and are inspired by daily events and new motives that enrich them.

Lace handiworks represent the feelings and powers of art of the weaver women even through their precious little motives and are regarded as art monuments.

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RESEARCH

TRADITIONAL

GAUZE FABRIC

WEAVING

Gauze weaving handiwork is the reflection of the precious crafts applied on gauze fabric that is made by women from Şile with their needle work. It requires a challenging craftsmanship; it contributes to the family income. In short, it means a lot to women from Şile.

t is known that sericulture and then linen weaving was common in Şile nearly a century ago. Cotton weaving started as of 1990s as linen weaving was tiresome and because production rates had decreased.

A CHALLENGING PRODUCTION PROCESS Threads used for gauze fabric are no. 20 meandering crimped fabrics. The weaver gets the threads in clews that are referred to as “kelep”. The threads are then boiled in the flour soup that is prepared with natural skills in a copper boiler with a dressing that is called “çiriş” whose scales are determined with a technique inherited from ancestors. The clews are carefully mixed in order to make the boiling flour soup properly sink into the texture of the cotton. After this process, it is left for cooling. The clews are taken out one by one and put on a bar to

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get dried. After getting dried, the clews are split from the center and mixed; the purpose is to relieve the threads from the dough and free them as much as possible. Then, they are prepared for weaving with tools called “elemne” where the threads are rolled and “çıkrık” which is the spinning wheel. Fabrics that are woven with 40-45 cm and 20 meters long are made into a pack, or if it is too much, they are put on the pannier on donkeys to be taken to the seaside. On the beaches of Ayazma, Ağlayankaya, Eşekadası, Elbiz, Kabakoz ağzı, İmrenli ağzı, Bozgaca ağzı, Şuayipli, Akçakese-Mahmutdere, the fabrics are pressed in a basin filled with some sea water and some “bleaching lime” and “soda” that were brought along until bleached properly. In the meantime, it is provided that the chemical materials in the lime (calcium hydroxide) are soaked into the cotton texture. This

RESEARCH

is also the finishing process of the gauze fabric. Thus the fabric has a smoother texture and those who wear it feel comfort. The cloth becomes air-permeable as the pores are relieved. The fabrics that are taken out of the bleach are washed together with 5-6 people who line up and pull up their baggy trousers and dip up the fabrics in the sea in which the temperature is between 20-26 ÂşC. (the salt rate of the sea on the shore is 18 in 1000) The washed fabrics are brought in the same shape and stretched over ferns, bushes or over the rocks. But the best way to do it is to lay the fabrics on iodized, quartz golden sands. The fabrics that lay down under the ultraviolet lights of the sun and with the radioactivity coming from the sands dry them right away. When the fabrics are to be collected, again 5-6 people line up and hold, stretch and shake the fabrics in harmony and therefore all the sands come off. By folding the fabric in one meter, a 20 meter long gauze fabric is thus prepared. This is how a real gauze fabric (Ĺ&#x17E;ile Bezi) is attained. The fact that the fabric is 100% cotton with natural fibers and is weaved with no. 20 meandering crimped distinguishes it from others along with the special processes it goes through. That is why the gauze fabric imbibes sweat and takes in the static electricity much less. It does not stick on the body as it is a crimped fabric, it almost touches the skin. It enables the skin to breathe. It is hygienic as it does not make you sweat. It comforts the users and feels good. It refreshes the user for it intakes the moisture and sweat. It is easy to wash. The more it is washed, the more it becomes slimmer and therefore looks more elegant. It is the endless fashion of all times. Nobody can give it up or put it away.

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RESEARCH

PRECIOUS HANDIWORK Gauze weaving handiwork is the reflection of the precious crafts applied on gauze fabric that is made by women from Şile with their needle work. It requires a challenging craftsmanship; it contributes to the family income. In short, it means a lot to women from Şile. Women of Şile weaves many motives on the gauze fabric that is stretched on the embroidery hoop with floss and needle. They never confuse the order as they weave and create a gorgeous harmony of the colors. It is known that there are more than 200 handiwork motives on gauze fabrics. Women of Şile use 55-60 of their favorite motives. Their names are also very interesting. Cracked coffee (çatlak kahve), window of the prison (hapishane penceresi), bridal crown (gelin tacı), lion claw (aslan pençesi), democrat party (demokrat parti), people’s party (halk partisi), river (akarsu), poppy (gelincik), magnolia (manolya), jasmine (yasemin), samatya, bachelor’s button (hanım düğmesi), ringing orchards (çın çın bağları), Şile lantern (Şile feneri), star (yıldız), veteran’s table (gazi sofrası), fern (eğrelti), snowball (kartopu), lady’s cheek (hanım yanağı), sworn sample (yeminli örnek), square (kareli) etc… Needle points are made on various types of gauze fabrics in handiworks. Blouses, nightgowns, shirts, tablecloths, tea set, baggy trousers and bedclothes are produced out of gauze fabrics. The fame of the gauze fabric is also known abroad.

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It is known that sericulture and then linen weaving was common in Şile nearly a century ago. Cotton weaving started as of 1990s as linen weaving was tiresome and because production rates had decreased.

HISTORY

When considering dizzying speed of technological developments,it becomes almost impossible to predict how extend the machines will be developed to. The developments that will be realized especially in the field of textile through introduction of three-dimensional production technology,seem to play an important role in the following years.

hrough existence of archaeological foundlings about that woven fabric were used in B.C.6500 year, it was revealed that weaving basing on forming a textile surface with two fibers system was known at least 8000 years ago. This old woven fabrics belonging to the Neolithic stone age and found in carbonized form,are also were found during excavations performed in our country. Weaving related foundlings belonging to the period of time extending to BC:5500 years were found outside of Anatolia, and in Cyprus, Crete Islands and Greece. As seen, the earliest foundling about weaving exist in Anatolia in spite of some uncertainties. Basing on these foundlings, it can be expressed that waving technology emerged in Anatolia. It was revealed through the tablets belonging to BC: 2000 years that great scaled fabric trade was performed both from Anatolia

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to another regions and from other regions to Anatolia. In addition, important information about how waving was conducted, the names and quality of fabric existed on these tablets. Basing on these information, it was revealed that weaving become an industry in Anatolia and close regions.

THE FIRST WEAVING LOOMS Throughout almost all human history, after the materials, such as, linen, wool and other materials were being spinned and turned to thread,they were woven at waving looms.Three types of waving loom were used in archaic era. The earliest information about horizontal ground waving loom was obtained through the pictures located on ceramics belonging to very old generations in Egypt. They were obtained from the picture belonging to BC: 2000 years located at tomb of Mebeskstre found in Thebes being protected

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HISTORY

at Metropolitan Museum today. In this picture, scenes existed showing spinning of thread and being woven at horizontal ground waving loom. The first information about vertical waiving looms with upper and lower beams was obtained from wall pictures at tomb.A similiar waiving loom with one used in Egypt, was then started to be used in Roman times. Following the waiving loom performing waiving predominantly which is classical weaving loom of Anatolia and Greece in Roman times, current type of weaving loom emerged in A.C: 1 st year. Although this machine used both in early periods in Egypt and belonging to mentioned Roman times underwent a change,it is at the same pattern with the machine called as hand loom being used today in Anatolia. Baked clay works resembling weaving loom were found in Greece ,Aegean Islands and also in many settlements at layers belonging to the bronze age. We still see the paterns of weaving loom belonging to the bronze age in Anatolia.These weaving

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loom were found at layers belonging to iron age in many archaic settlements within the today’s boundaries of Israel and Lebanon.Possesing weaving loom in Egypt indicated that both horizontal ground loom and waiving loom together were used in antiquity. Mouthpiece opener mechanisms, unknown untill A.C: 3 century in Europe, were improved extensively in China,and even intricate patterned fabrics could be woven with the systems which can be called as primitive jacquard machine.Undoubtedly this development played an important role for China to be only manufacturer of silk. East supremacy on weaving continued for thousands of years, but in the meantime,any important development regarding waiving loom in terms of system wasn’t witnessed. In spite of the fact that formation of mouthpiece and framing of lintel improved quality of fabric, weaving couldn’t be improved without lintel dashing process being mechanized requiring great human effort.Since width of fabric restricted with weaver’s arm shot, two people were required to work for wide fabrics.

HISTORY

The technological development of weaving and weaving loom were realized in last 850 years. We know that while any development on design of weaving loom wasn’t seen until 18th century, Flemish weavers had some works on this field,and manufacturing of these machines were targeted in England.Although at the end of this period, any energy use other than human power wasn’t the case, English John Kay mounted wheels to a shuttle, and provided it to be shot through a simple mechanism in 1773.This system development study ,seemingly very simple,made waving process easier significiantly and increased the production extraordinarily.Because while weaver realizing mouthpiece opening by pressing pedals with their feet,at the same time, he could be able to make shoting by pulling a rope hanging in the middle. one-hand commissioned scallop makes framing to lintel.Although energy and timing was obtained completely by human power and lintel,the first mechanism began to be used. The varagele machine developed by English Richard Arkwright in 1769, pulls thread first,and then being curled while being wounded to a spool or coil. Ten years later, Samuel Crompton invented “spinning machine” spinning a thousand thead at the same time.The first mechanical weaving loom with commercial use was invented in 1785 by an English inventor namely Edmund Cartwright and its patent was taken out. Cartwright developed this system later ,manufactured a system that could be considered as a weaving loom.

PRODUCTION BEGINS TO INCREASE ABRUPTLY Along with new machines, weaving was taken from houses to the factories where water power or steam power required to operate these machines were available. Thus, early

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age children who can be able to get under the machine to repair broken theread or collect scraps were began to be employed in the factories.While studies on lintel dashing process and mechanizing of the machine continue,it was seen that patterning factor mostly standed in the forefront in France. French weaver and inventors strived on mouthpiece opening systems. The first mouthpiece opening device was invented by Basile Bouchon in 1725 operating by a perforated cardboard for “selecting warps needed to be removed”. and then Falcon used perforated cardboard chain in 1728. Vaucanson developed these mechanisms, and development of mouthpiece opening systems has reached its peak by invention of Jacquard machine by Jacquard which was referred with its inventor.A new problem occured after the machine being mechanized.This problem was that in case of thread broken or breakdown or consumption of shuttle and shutting down of machine, by purpose of changing shuttle, discontinuation of the work was needed.When short linkel dashing was

realized by Robert Miller in 1776, a mechanism stopping the machine was manufactured. Then the mechanisms were manufactured stopping the machine in case of break of intel or consumption of shuttle, in 1822,English engineer R. Robert developed a weaving loom by considering all developments realized until that time and benefiting from these mechanisms. Many of these machines have been manufactured.The problem of changing of empty shuttles was eliminated by “automatic coil changing”system” started to be manufactured in England by J. H. Northop migrated to America, and completed in 1894.This mechanism,of which original design is still being kept, is one of the most important invents in weaving history.By considering that lintel dashing process can be realized through hooks, First patent was taken out in 1898. Relating with this subject, Gabler system was developed in 1925, Dewas system was developed in 1930. Although it was considered for the first time in 1914 that lintel dashing process could be realized through air jet, it could only be realized and gained a commercial importance until the 1980s. After the 1980s,following the developments of electronic and computer systems very quickly, an permanent increase at production speeds of waving loom, that is, speed of litel dashing process have been observed. When dizzying speed of the machines considered, estimating in which direction the machines and technology will be developed becomes almost impossible.It seems that the developments realized especially in the field of textile with introduction of threedimensional production technology will play an important role in the following years.

WEAVING

Rebirth of a Legend: Alaca is a hard-wearing type of cotton weaving made in the various regions of Anatolia that is referred in different terms depending on the region. Alaca weavings are done in different colors and patterns in every region.

he meaning of alaca is “multicolored”. Thus we can describe alaca as a local fabric that has many colors and stripes on it. “Kutnu” weaving also belongs to the same category. However the warping of kutnus are silk and their scarves cotton. As an enduring type that has a variety of place of use, alaca weavings are one of the oldest weaving works of Anatolian people. Archeological findings point to the fact that there remain pieces of weavings from five thousand years ago. Alaca weaving in the Ottoman Empire was among the fields of production. Alaca crafts that were very important in the Ottoman textile weaving were among the most important business lines especially in Istanbul and then in Bursa, Manisa, Kastamonu, Erzincan, Tire and Gaziantep. Alaca weavings

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WEAVING

were used in women and men apparels. Like kutnus, alaca was usually made at home. The weaved alacas were brought to big commercial complexes in order proceed with the next procedures (just like kutnus were brought). They would be cooked, softened and polished there with special tools and after chemical finishing was done then they would be handed to merchants in the bazaar for sales.

A TRADITION THAT COVERS THE ENTIRE ANATOLIA Alaca is a hard-wearing type of cotton weaving made in the various regions of Anatolia that is referred in different terms depending on the region. Alaca weavings are done in different colors and patterns in every region. Alaca weavings are one of the oldest handicrafts of our nation and they were an important source of living in many cities until 1950s. Industrialism and usage of chemical materials in production has gradually resolved traditional handiwork weaving. Alaca weaving that was not associated with any foundation until 1930 has entered into a new process with the establishment of the weaving union in 1930. Although it was the major source of income for many

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Alaca is a hard-wearing type of cotton weaving made in the various regions of Anatolia that is referred in different terms depending on the region.

WEAVING

Industrialism and usage of chemical materials in production has gradually resolved traditional handiwork weaving. families especially in the city centers before 1950s, alaca weaving has gradually lost its significance with the increase of fabrication production in Turkey. An important source of income for the people has vanished as a result of the factory system and industrialization despite having a 150 year old history. Therefore, alaca weaving has been replaced by carpet business for it did not replenish itself

A REVIVAL With the efforts made to revive alaca weaving and turn it into a source of income once again, this tradition has returned back to its glamorous old days with the workshop established in 2004 with the financial aid granted to Burdur Municipality by EU

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funds. New areas of use are presented to consumers by creating new designs to products that are made by means of traditional techniques. Products made with new designs show developments by fitting into modern life with different patterns, colors and compositions. These developments contribute to the source of income for the local people in the region. Tablecloths, scarves, shawls, shirts, waist clothes, face cloths, napkins etc. that are made out of alaca weaving are offered to the market as unique fashion designs. Today women from Burdur continue making alaca weaving at the Burdur Municipality Carpet Palace and draw the touristsâ&#x20AC;&#x2122; attention and provide new aesthetics to their apparel and house textiles.

RESEARCH

TRADITIONAL POMAK HAND WOVEN GOODS They took the name “Pomagaç” which means assistant in the regions they lived in the Balkans and this word turned into “Pomak” in time. Pomaks kept their cultures, languages, traditions and handicrafts such as weaving and etc. during their migrations both in Bulgaria and in the regions where they settled in Turkey.

t is known that Anatolian Turks migrated from different routes in different times: Those of Turkish Populations, migrating from Asia to the West for 1600 years, who followed the North of Black Sea, reached East Europe. It is known that Kuns, Kumans and Pechenegs settled in today’s Hungary, Romania and Poland In the age of Atilla. One of the populations from whom we will find traces of their Turkishness, including their languages, as long as we look for, is Pomaks. Pomak Turks who settled on mountainous regions in Biga, Çanakkale by immigrating from Bulgaria, are Kuman Turks who left Central Asia as of 916 B.C. and came to Balkans through Ukraine and Romania. They took the name “Pomagaç” which means assistant in the regions they lived in the Balkans and this Word turned into “Pomak” in time. Pomaks kept their cultures, languages, traditions and handicrafts such as weaving and etc. during their migrations alive both in Bulgaria and in the regions where they settled in Turkey.

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Research

Handwoven goods produced in Pomak Villages (Işıkeli, Kaynarca, Ilıcabaşı, Elmalı vb. round Biga today) diversifies according to their sizes, types, weaving techniques, colors and patterns and they find area of usages according to these specifications. When raw materials used in producing Pomak hand woven Goods are examined, it is understood that wool, cotton and hair yarn was intensively used in the old examples. It attracts attention that Pomaks used wool and fleece in producing cloth for dress, various veils and ground cloths. After wool is combed, distaff is used in spinning process and this tool is called as “Furka” in Pomak language. On the other hand, wool fibers which are very suitable for coloring and which are very durable against wetness, friction and wearing, are indispensable textile material in especially clothing sector because of their wet strength, their durability against washing, their hygienic characteristic, highness of ability to keep moisture and etc. In Pomak villages, wool is not only used as a warp yarn but also applied as weft yarn according to characteristic of some woven goods. It is seen that synthetic yarn is used very commonly in the region. Because Syntethic yarns have positive characteristics such as that they are more flexible than natural fibers, their moisture absorption characteristic is low, they are light, they are durable against acids and alkaline, they are easily cleaned and they dry fast, they don’t get damaged as much as insects such as moths do, They are used in Pomak hand woven goods, in wefts and patterns and together with warp yarns on all surfaces. Because they are easy and cheap in producing Pomak hand woven goods Synthetic yarns are preferred and can be obtained with the color requested today. Woven goods which are produced with goat hair on wool or weft are usually used as shepherd’s felt cloak or ground cloth in the region because they keep things hot. Coarse woolen cloths are produced from wool, they are colored with black, and coarse woolen cloths are utilized commonly. Woven goods which have been produced with synthetic yarns in the recent years, are utilized as clothes, veils, ground cloths and etc. It is seen that woolen yarns - because of their characteristic - are used in some of woven goods as warp or in parts on colored weft lines. Woolen woven goods are produced according to orders or the needs today.

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RESEARCH

Patterned types of Pomak Hand woven goods which are produced with or without patterns, can be examined in three groups, which are patterns with vertical lines, with horizontal lines and triangle, quadrangle ant etc. patterns which are comprised as a result of crossing of these lines. Bezayağı weaving techniques is intensively used in producing all of these three grup patterns. Patterns with vertical lines are not only patterns which can be comprised of arranging of vertical lines with the same widths side by side with certain intervals but also patterns which can be comprised of arranging of vertical lines with different widths side by side with certain intervals. Patterns with horizontal lines are produced by arranging horizontal lines with different widths one on the top of another with certain intervals. Woven goods on which vertical and horizontal lines are on the surface are usually used in producing prayer rugs, ground cloth, veils, dresses and cloths for dress. Checkers on Pomak Woven Goods are produced by arranging weft yarns on colored warp yarns prepared in a certain arrangement within a certain color arrangement. Simple color arrangement is made in weft but complex color arrangement is made in warp. So a number of appearance can be obtained. Cloths with checkers are used especially as ground cloth, pillows, table cloths, aprons and bed spread and closet spread etc. Widths of Pomak hand woven goods are 100 cm at most. However, Hand woven goods have usually 40-75 cm widths. The lengths of those can be changed according to place where it is used and characteristic of the place. Products which necessitate wide widths such as bedspreads are produced by sewing the woven goods with the same lengths which are brought together side by side. So, wide spreads are prepared with stitches at the middle, and this work is made very carefully. No pastel colors are met in Pomak hand woven goods. A number of vivid colors are usually used both in warp yarns and on weft lines. The colors which are used most in the goods are red and pink. Besides, colors of blue, green, yellow, claret red, Brown, black, White and dark blue and etc. are used. In some examples of the goods, silvery yarns are seen. Colored yards are applied during weaving and are used in ornamenting dresses of girls. Unfortunately, hand woven goods, whose colors are with quite vivid shades, are not produced as much as in the past, because their production lasts long, hard and expensive, and they are directed to new and modern fields, demands and area of usages have reduced and they are on the verge of disappearance.

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RESEARCH

MODERNISM, POSTMODERNISM AND OUR TRADITIONAL MOTIFS

When evaluated in cultural sense,waiving products are the ones establishing a bridge between the past and the present, keeping property of being a work of art in its structure.They are among the representatives of concrete culture identity. Ahmet AYTAÇ / Selcuk University Faculty Member The Turkish Handcrafts Research and Application Center/Konya

esign is a process being developed since the existence of mankind. Design is an innovation. It is a new perspective in a sense. Design has the meaning of first sketch in art, that is a figure summarizing the essential properties of something to be built like building or decoration; the arrangement of elements and details that will constitute a work of art. The basic design consists of the processes of establishing creative and regulatory relationships with environment and material and creating some a set of equivalent forms starting from emotions and

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sensations, such as tracking, observation, perception,visual note taking, review, research, creation, imagination, feeling, learning, thinking, reasoning, criticizing, idea generation,evaluation and by running its all emotional and intellectual processes in a holistic way. In the last period of time, negative impacts of globalization and global culture created by globalization turn into the elements threatening intangible cultural heritage.We witness a period of time, during which global culture threading rich local culture of humanity and production styles basing on this culture and spreading from

RESEARCH

a single center, replaces traditional cultures quickly, and accordingly , traditional culture produced by humanity in thousands of years and conveyed to the present by being forwarded from generation to generation ,has been involved in process of extinction , and finally as a result of all these matters,humanity becomes singletype, losing diversity of cultural expression. On the other hand, some theories like ‘Bauhaus’ , trying to analyze the artistic

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design theories and ‘Gestalt’which is standing and running of meaningful integral formed by designed parts,were revealed. Gestalt, literally means‘ formatting‘, ‘completing‘,and ‘integration’. When the same word was used in the field of psychotherapy,it states the integration of the person, and constituting and completing the issues of life in a meaningful way which are uncompleted and that couldn’t have any result. It emerged in Germany in the first

half of the 20th century. The meaning of the word of gestalt is an integrated whole, being constituted from total of format, figure, and forms. In point of view of Gestalt theorists, whole is more than the total of all parts,and individual perceives whole in a wholeness, not parcing into its parts.Then it notices the relationships between the whole and parts When evaluated in cultural sense,waiving products are the ones establishing a bridge between the past and the present, keeping

RESEARCH

property of being a work of art in its structure.They are among the representatives of concrete culture identity.The colour and symbolic format located on hand waiving that is an integral part of a human from birth to death are impotantly valuable in human’s life. Waiving,took place inTurkish culture ,includes all sociological, psychological, anthropological information as well as its roots extending to Central Asia and its property of being a product with functional use area. Cultural and traditional values are being exhausted in a globalizing world by the day. However, on the one hand, developed countries performs such a study quickly bringing cultural and artistic values in the foreground. The world nations defies against single-type cultural statement, extracting them from their origin, by bringing out their cultural heritage.Even the purpose of use of textile products and attributed meanings to product vary over time,it is seen that all textile products are being shaped according to conditions of time and cultural structure of society. For this reason, it is not correct to evaluate a textile product as a use objects. Because they reflect many features of society in terms of material, form and their designs and carry to the present. The main principle of textile design is being funtional as well as being original containing aesthetic elements. For example; when an astronaut clothing fabric is designed, properties of heat and air proof stand in the forefront. Therefore, nano

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technological fabrics are produced.A non functional textile product is included in the scope of work of art and excludes from textile design. Modernism is a system of thought revealing along with enlightenment,basing on humanism and democracy.Although it is difficult to say that any aggrement is available on basic characteristics of modernism,and it is possible to determine a frame.Different intellectuals define and handle these characteristics in a different way, For example, the basic characteristics of Modernism vary in the literature.While post-modernism is being defined, “post” prefix causes confusion in terms of meaning. “Post” prefix of “postmodernism” could be evaluated as “result of modernism”, “continuation of modernism”, “ “advanced state of modernism “, “denial of modernism” or “rejection of modernism”. This term was used as the mix of all of them or mix of some of them in a variety of ways. It will not be correct to perceive postmodernism as a concept with integrity in its whole, independent, and emerged in the dynamics of their own formation. Postmodernism emerging as a impact against modernity,

and that began to be talked about since the late 1950s, began to be widely used in the early 1980s. Postmodernism is based on that any society or culture is not more important than the other one.Usually, , they put forth some products ,weakening the cultural values.Postmodern artist intends to break the ties between real life and art. Postmodernism includes respect and disrespect in terms of architectural past. Pluralism is essential. Decorations and details standed out. Economic life in postmodern understanding is based on consumption rather than production,and design rather than benefit. Postmodernism in textile design is a concept, being effective after the 1970s. While first phase of it was performed by revealing popular culture elements through gathering them together with minimalist design (forms), it was realized over deconstruction of traditional elements, known in design after a while. Every thing consecrated by modernism is being questioned by postmodernism.In the postmodernism, where fragmentasyon, seperation ,awaresness and originality are glorified, the concept of identity is considered on the axis of differences and similarities. Unlike the modern paradigm,in the identification phase of postmodernity;

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RESEARCH

some concepts,such as, uncertainty, diversity, heterogeneity, complexity, relativism and fragmentation are dominant within the conditions developed in a slippery floor. Currrent identification presentation of this period is being shaped in respect of heterogeneity and dissimilarity. While aesthetic design elements found in traditional textile constitute a design, they are considered as some elements,factors, rules and guidelines being benefited with or without being aware, and aiming at admiration and delight emotions.Although they are expressed as motifs and compositions in general, aesthetic design factors used effectively in textile design ,consist of physical elements and their arrangements which exist in visual , located on the surface of textiles and that we could be able to perceive.Waiving art being performed in nearly every region of Anatolia distinctively,is one of the most important area that motifs are processed. We can group the subjects of motifs used in waivins as geometric ornaments, herbal ornaments, figurative ornaments,objective ornaments and symbolic ornaments. The objects used as motifs in the preparation of pattern in textile, are usually not reflected in their natural state.While an object is turned into a motif,it could be forwarded to weaving with different forms and colours with reasons such as, point of view of weaver or designator, unsuitability of weaving technique used. The motifs used in Turkish weaving could be classified as herbal, geometric, figurative, objective and symbolic. Carpet, rugs and loom weaving, constituting a majority part of traditional textile, with their historical, social and economical aspects,have always an important place in Turkish handcrafts. The concept of textile design is fairly

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new in our counry with its recent meaning.Along with that the textile industry proceeded significiantly in last years, textile education given in academies and colleges with different names began increasingly to become textile design training.It is a result to be obtained in a natural way.While we describe textile design as a formatting process covering draft plan and production phases of the textile products, textile designer is also a person formatting textile product and production program and programming them ,taking into account the interests and needs of the consumer in the direction of predetermined purposes. Along with the concept of “ethnic chic” that is ethnic fashion, explored by designers in the 1970s, ethnic and authentic elements were involved in textile design in the 1970s and they dominated in the fashion scene for a long time. Today, In respect of ensuring continuity of hand weaving, took place in ground textile,difficulties have been encountered due to both technological conditions and changing life conditions. Correspondingly,some new researches, such as, patchwork carpet, stain-resistant carpet have been continued.Traditional hand weaving textile products were affected extremely by modernism and afterwards by postmodernism. The use of textiles created by traditional information should be encouraged and revealed as products of 21 st century. Otherwise, kitsch * examples will increasingly continue with pop art production. *Kitsch: It is a German term used in the meaning of classifying and expressing of an art ,being a sub copy of an existing style. This term is also used for referring to the something with arrogant and banal taste and banal, tacky and boring products produced by commercial concerns.

Research

A Centuries -Old Handcraft:

MaDE OF felt

Due to it is being used widely from the past to the present , felt has always existed as a part of daily life. Many varieties of felt , the use area of which declined for a period of time, To day play a leading role in the production of touristy goods and souvenir.

eFelt is coarse fabric obtained by providing its fibers to be mixed to each other through running over and pounding wool, clay or cotton in wet environment and it is used in making cover, carpet,tent, clothes.Felt is known and used by Turks since their life in Central Asia. Konya, Diyarbakır, Afyon, Isparta, Uşak, Urfa, Bursa were known as felt production centers in Ottoman time.Making felt used to have a great importance at trade guilts standing in Akhism organizations. Foreman and master workmen learned the methods, such as,wool scribbling,wool casting, pounding wool by feet, wool preparation in mold,cooking felt in bath, in the 6 to 7 years long preparation periods. Felt is the oldest textile surface known on earth. Although,exact data doesn’t exist about how it was made and used for the first time, the oldest written document about its use took place in the work namely Ilyada created by Homeros.The nomadic Turkish tribes migrated from Central Asia to Anatolia, following Malazgirt victory in

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1071, conveyed their cultural values with them.The art of felt took place among the handcrafts they conveyed. Due to it is being used widely from the past to the present, the felt has always existed as a part of daily life. Many varieties of felt, the use area of which declined for a period of time, To day play a leading role in the production of touristy goods and souvenir. Many Turkish, European and American artists have used felt material; enforced the limits of design,and painters and sculptors have revealed very different works of art by using felt.Felt is described literally as “The coarse fabric obtained by pounding fleece or goat hair without waiving”, “The coarse fabric obtained by rolling up and pressing vigorously or pounding fleece or goat hair and used in making wheat moth, tent, rawhide sandal, coif and floor knitting”. It was produced widely in the centers, such as Konya, Akhisar, Kars, Erzurum and Urfa. Some factors,such as,its use in making military gear,being preferred as a cap among the people,and being worn by chaplains have played an important role on this respect.

PRODUCTION PHASES OF FELT: As with all the handcrafts, the felt is a product, of which production lasts long and demands great effort. Spring, hammer,mold, scissors, sepki, coarse fiber pole, rope, broom, scissors, water container, balance , paint boiler and furnace are needed for its production.The wool that will be used in making felt is supplied by shearing of sheep, carried out on May(the first shearing). After being shared , wool is teased carefully for the purpose of being cleaned from burdock and dirts,immediately afterwards,it is casted until spring,hammer, and fibre are separated completely from each other.Fiber is casted in a homogeneous way on a mat laid on floor, motifs are placed thus creating a pattern, and soaked with warm water.A roll is rendered by wrapping fiber together with coarse fiber and also a roll is rendered by wrapping fiber with coarse fiber mold and “kicking” phase is proceeded.During this process, by pressure implemented by feet for 30 to 40 minutes, the fibres are attached to each other.Following this process, coarse coarse fiber mold is

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RESEARCH

opened and the phase of raw felt “cooking” is proceeded.This process is that the fibres, attached to each other, are clamped firmly by means of warm water,hand or elbow pressure in a hot and humid environment.The felt is washed in the last phase and again a tight roll is made. By keeping the roll in an upright position to the floor,it is provided that the water remained inside it is distilled completely,and then it is dried by hanging.

USAGE AREAS OF FELT: Due to it is wide usage areas from the past to the present, felt has always existed as a part of

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daily life:Such as, exhibition, tent, load , horse, saddle, cedar, carpet ,quilt, pillow, prayer rug, bed and mattress felts have been used in tents and houses in the past. In addition to this there are also felts produced for a variety of uses: Such as,milk felt,snow felt, perspiration felt, gearing felt, shoe felt, door felt, water bottle case,tandoor felt, bags and carpetbag, waterresistant coat, leggings felt,ball felts, intendment felts, wheat moth, slippers, boots, socks, shoes, pants, coat, belt felts. Felt is also used in the field of industry today, For example; fuel filter felts,oil felts, nickelage polishing felts,insulation falts,

plug felts,polish felts, iron felts, felt used in the clothing industry.As seen, the felt, having extremely wide use area vary in terms of motifs and colors. In general, red, blue, dark blue, green, purple, brown, and its own wool colors of animals created the compositions of realistic narrations like cavalry and animal struggles as well as constituting the pre-Islamic period of compositions in mythological animals.Following the adoption of Islam, the stylized motifs , such as, ram horn, cage are begun to be used.Besides that, after felt with plain colour has been obtained ,it was used by embroiding decorations on it.

SPORTS

THE IMPACT OF TEXTILE UPON CHAMPIONSHIPS The importance attributed towards the Olympic Games, World Championships, Continental Championships and to other local sports activities have been on the rise recently. The clothes of athletes that compete in these championships may have a significant impact on their successes especially considering the special materials used in their gears.

ports gear and materials that are designed to stabilize body temperature in any weather condition and that enables high performance with it special design are highly demanded recently. The sports sector has an approach that embraces innovation while many developers of new fibers, materials and fabrics also target this market. There are significant implementations of textile in the performance of sports gears

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and shoes. There are various opportunities for technical textiles to be used in sports and leisure time product markets. The applications have many different forms and the wide range varies from artificial turfs that are used on sport field to racket frames, fly rods, golf stick and carbon composites that are designed for bicycle bodies. Other areas of use are balloon fabrics, parachute fabrics and sailcloth. Textile materials are now being used almost in any sports activities.

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SPORTS

There are significant implementations of textile in the performance of sports gears and shoes.

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HIGH QUALITY, HIGH PERFORMANCE Textiles that are used as sports gear consist of high performance fibers and fabrics. For example swimmer suits, gymnastics and skiing wear are made out of polyurethane foam fibers that have five times more capacity to stretch. These fibers can be used in mixture with natural fibers as well. Although we prefer to use cotton clothes in our daily lives, the moisture that is left on the material as a result of sweating makes the clothes heavier. For this reason, synthetic fibers are preferred in many active sportswears as they wonâ&#x20AC;&#x2122;t get wet. Today, there is more than one preference in sportswear. These preferences are about protection from winds, water and weather conditions; heat isolation; vapor-permeability (that the bodily vapor is left out from all the layers of the cloth); flexibility etc. that enables free movement and mobility during sports activities.

THEY ARE USED IN EVERY FIELD Use of textile structured composites in sports equipments have been on the rise. For instance, the numerous areas of use of these types vary from bicycle tires, tennis rackets, golf sticks, skiing and surfing equipments, football, soccer ball and baseball. Recently “mobilethermo” clothes are used in functional sportswear, enabling the body temperature to be distributed evenly and that sets the temperature at 38°C, 34 °C and 30 °C. Moreover, the necessary performances of the fabrics with special procedures are currently being developed. For example, breathable fabrics have been developed with polyvinyl chloride (PVC) micro porous coverings.

CUSTOM DESIGNS Today, sportswear fabrics that soak the sweat and enable them to dry immediately have gained importance. Also, both functionality and hygienic properties should be provided in sportswear. Hundred percent polyester fabrics may have the feature of easy-dry and may be easy to care, however it might bring unwanted odor to the environment. That is why anti-microbial procedures are conducted in sportswear for the purpose of decreasing the odor. Due to the ozone layer depletion, protection from the ultra-violet light has also gained importance recently. Therefore, ultra-violet protection chemicals are also commonly used in sportswear.

Hundred percent polyester fabrics may have the feature of easy-dry and may be easy to care, however it might bring unwanted odor to the environment.

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HEALTH

JOB STRESS AND COPING STRATEGIES Albert Camus expressed the importance of the business in the life with the statement “Life is terrible without a job but life suffocates and dies in a soulless job”. Camus’ words can not be ignored, but as in all areas of life, to give meaning to work belongs to us. Also, most importantly, life is not simple to connect to it from a single point. Psychiatrist Dr. Şebnem Gelişen/ Madalyon Psychiatric Center

tress can be defined as a response to external factors pushing people’s way of coping. In a certain level, it motivates people and it may have a role that allows to take measures against threatening factors. However, in excessive or enduring cases it causes psychological or biological wear and various psychiatric problems. An important part of our daily life passes in our business. Stress experienced at work is associated with business conditions. However, individual factors, e.g. coping with stress according to personality traits, family life or other sources of social support, the difficulties experienced in the roles undertaken in other areas of life affect business stress. On the other hand stress experienced at work reflects in other

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areas of the life. We can control to some extent working conditions; therefore, even in difficult conditions, we have to focus on the idea of coping with these conditions at first, instead of setting new targets. Ignoring the symptoms created by work stress leads to more serious mental and physical problems: anxiety, insomnia, social withdrawal, coping with the use of inappropriate drugs for anxiety or sleep problems without professional help, and accordingly developing additional problems, headaches, physical symptoms such as problems related to the digestive system are frequent reflections of job stress. Not taking the measures in this regard may lead to the development of burnout especially if personality traits

tend to this (Anxious, perfectionist, introvert, people are not open to new experiences). In this case the person feels inadequate, unsupported, and insecure. Depersonalization against working, not wanting to go to work, decreased work efficiency, intolerance occurs. Burnout is reflected in family and social life. Ignoring the symptoms created by work stress also leads to depression and anxiety disorders. Job stress can be greatly affects the mental health and family and social life, therefore it should be used to some coping ways in preventing work-related stress and if required it should be taken professional advice. Sometimes simple measures that can be taken can be effective in preventing major problems that may develop.

HEALTH

If you think you are faced with such a situation; 1) Go to work earlier than normal hours. Reviewing things to daily work or live serenity for a while in the environment that you will experience rush-hours will increase the motivation. 2) Go to work having enough sleep, a quality sleep is important for coping with stress and concentration. 3) Taking care of yourself is not to change the lifestyle. Regular nutrition and fitness in daily life will make you feel yourself energetic and it will make you stronger in dealing with problems. 4) Used drugs for stress-related sleep problems or anxiety without professional help cause to increase anxiety and decrease yield. You should consult a psychiatrist for your drug needs. 5) Do not neglect your physical and spiritual

It is necessary to utilize some methods for coping with job stress and, if necessary, to receive professional help as job stress can seriously affect one’s mental health and therefore one’s family and social life.

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needs Only by focusing on business. Your soul needs to be fed, only a life focused on work does not feed your soul. You should establish a balance between working times and family and friends times. Note that effective communication with the people you love will be reflected positively in all aspects of life. 6) You must establish a good balance between work needs to be done and those mandatory. Sometimes you might be increasing list of requirements. 7) Keep in mind that people can share roles and responsibilities in the workplace. Each step may not be under your control. 8) To determine priority about the business, giving priority to the things you do not like will reduce the tension in the rest of the day. 9) Positive communication with people you work with, is an important factor in reducing work stress. The sharing of common problems

can relieve you and increase your awareness about different ways of coping. But like many things we can not control events in the perception of others. Professional life needs to establish a good balance between the two. We have to know that people can be detected the problems differently and sometimes we must focus on our own thoughts and feelings rather than stress on them. 10) We can conclude perfect everything we do. We make mistakes and some mistakes are multi-component; If the error stems us we try to learn the source and prevent recurrence. Mistakes occured may be related to the operation or corporate structure, we need to share this with the employer or management. This share will increase individual and organizational productivity. 11) In the problem with the helpful staff; statements of expectation but besides exchange ideas on the current difficulties in the operation plays an important role in reducing the workload, in the resolution of conflicts in the workplace, and in increasing job satisfaction. 12) In the conflicts with people working together; to try to understand the feelings of the people we are dealing with verbal or behavioral clues in addition to our own emotions, to focus on the present moment detaching the emotions generated by past experiences with these people are important. Even if sometimes we disagree, if the conflicts lasts it would be useful to end. Albert Camus expressed the importance of the business in the life with the statement “Life is terrible without a job but life suffocates and dies in a soulless job”. The challenges posed by business and a portion of the individual ways of coping are discussed in this paper. Camus’ words can not be ignored, but as in all areas of life, to give meaning to work belongs to us. Also, most importantly, life is not simple to connect to it from a single point.

FOOD

THE 600 YEAR-OLD STORY OF

TURKISH COFFEE K

aThe discovery of the coffee is of legends and theories rather than scientific backgrounds, or documents. The Mostly told is the “goat”s in Ethiopia are to be the discoverers of the coffee. To the legend; when the shepherd found out that the goats and camels happened to be more lively and energic right after eating a fruit of a specific kind of a stange tree, he went on to Şazili to report and inform about the situation thinking “there is something strange and misterious about the tree”. Şazili also having boiled the same tree’s fruit and drunk it; he felt the same liveliness and energy inside. According to the Algerian resources; there happens to be another name taken place while reffering to the discovery of the coffee along with Şazili; İdris. Also, they named the coffee as “Şazili” at the time. However that the fruit of this strange tree became to be a juicy beverage, consumed as a juicy beverage was first in Yemen. First coffee

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was drunk by Sufis. Especially trying to stay awake while worshipping and invocation in the evenings.

WHERE DOES THE NAME COME FROM ? Various sayings are on the issue. Coffee, the name has come from Arabian “kahwa”. As the homeland is Ethiopia, most logically, the name is of a region oldly-named Kaffa where the coffee was grown. Coffee also means flavor, balm and aroma; smell. According to Suleyman Aga, the Ottoman Embassador on duty in 1669 going to Paris and making the French fall for Coffee , it was named so as it energitize people. Around Yemen, it was also named as “bun”. Another name is moka. This word comes from a town of Muha in the east of Red Sea. However, the names from all around the world resembles Kahve. Coffee is named as Café in French, coffee in English, Kaffe in German, kave in Hungarian, kahve in Turkish and kafes in Greek.

FIRST HOMELAND AND SPREAD OF COFFEE

Since its first times, its homeland is known to be Yemen. However, the first coffee came to Yemen from Ethiopia and is produced here. Coffee in 1000s was known to be the fruit of a sapling-height green trees in Ethiopia. Thoe dates, coffee was used in making of bread by mixing into the dough. For 5 centuries, coffee was used as such as a competent. In an Arabian Medicine book written by Turkish Ebubekir, born in Rey of Horasan having lived

FOOD

World-famous Turkish Coffee has a bittersweet long history of 600 years. The history of coffee starting in Ethiopia, then onto Yemen, Mecca, Cairo and Damascus and Istanbul, from Istanbul to Europe and to around all the world consists of interesting details.

between 1450 and 1525; he states the coffee was used there and sent to Aden. To the book of Abd-El Kadr placed in National Library of France in Paris, coffee was found in Yemen in 1450s and started to grow here. Coffee was introduced to Mecca and Egypt after Yemen. The first coffeehouse was opened in 1521 in Cairo. Dr Rauvvolf having lived in Middle East countries between 1573 and 1578 has stated he has drunk coffee in these coutries. In the same years, coffehouses were opened in Aleppo, Damascus, Baghdad and Tehran. Coffee then came to Istanbul within the Ottoman Empire borders. It is told that two Syrians named Hükm and Şems brought coffee to Turkey in 1555. According to some other resources, during Sultan Suleyman Pasha’s reign (1520-1566) Ethiopian Governor Ozdemir Pasha brought coffee to Turkey. In the 16th century, Kanuni’s reign, coffee was loved by Kanuni and thus this magical beverage spread all over Ottoman Empire.

HOW IT SPREAD IN EUROPE ? Coffee seeds were first taken to Italy by Ottoman merchants. But it was not spread until VIII. Papa Clement has declared it can be drunk in the beginning of 1600s years. The firs coffee store was opened in Italy in 1645; 90 years after the one in Istanbul. The first in Wien, the city popular with its coffee stores and houses, was opened in 1683. Wienneses who took coffees of sacks after the second Siege of Vienna where the Ottoman Army lost against Wienneses, have improved their coffee culture by adding milk and sugar.

HOW IT IS MADE AND SERVED The tools and materials used during Turkish coffee’s cook and servicestarting from its seed status are so various that they can be presented in a museum. Water-can mae out of copper and brass, coffeepot and cup bags and coffee hangers used to transport cooked coffee are all characteristic. These could be made out of

silver and golden from time to time. Coffee cups were being produced and designed according to Turkish tastes, styles and motifs in İznik and Kutahya atelliers; even in famous porcelain porducers in Europe. Later on, these sets were produced by European countries and brought to the market as “ala turque”. Some materials such as Freezing cup, maintainance box were made out of woods, and decorated with carvings. Embroided, enscripted and wooden coffeegrnders made in Bursa and Istanbul are also famous and popular. Each special Turkish

FOOD

The service would be somelike of a ceremonnial athmosphere. This long ceremony would consist of stages like coffee seeds roastery, cooking, serving into cups and the serving to the guests.

coffee was named according to its coffee and sugar quantity, the cooking technique and also the required time of the coffeemaking. The expert exmphasizes to use cold water while preparing the coffee. A coffee for its lover should be cooked for 15-20 minutes on a hard heat, coffee pot should be driven over the heat from time to time. One spoon of coffee and one spoon of sugar for each cup is kind of a tradition nowadays. No matter how it is cooked, the Turkish coffee should always be foamy. Older Turkish coffees would be sugarless. Instead, eating or drinking sweets, candies or dessert before or after the coffee was the tradition. As a sweet drink sorbet would be drunk and jam, candies or Turkish Delight would be eaten before or after thee coffee. In such locations under the Ottoman Empire’s effet as Greece, Macedonia and Yugoslavia and in Turkey; Turkish Coffee would be taken with sugar by the women. Thus; coffee has over 40 ways of cooking as plain, yandan çarklı, medium cooked. Also, in case of a smell-wish, a smelling piece would be placed in a casing on the bottom of cups. Mostly used are jasmine, amber and clove. The legend for the water drank with the coffee

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is somewhat different from the commons. The water drunk after the coffee is acoording to the “authorities” actually menat to be drunk right before the coffee. The reason is to cleanse the palate from the possible older diffeent tastes. The service would be somelike of a ceremonnial athmosphere. This long ceremony would consist of stages like coffee seeds roastery, cooking, serving into cups and the serving to the guests. Real Turkish hospitality and the warm welcoming could be observed in such ceremonies. Recent days, when a family goes to the gil’s family’ house for asking the girl’s hand with the purpose of marriage, this girl is supposed to be cooking and serving ths coffee to the guest family. This ceremony, the taste of the coffee she made and her serving the coffee traditionally evaluates her handcraftery. Another tradition is common amongst women; coffee fortunetelling. After drinking the coffee, the drinker would put the cup reversed on the coffee plate; then the markings and remaining of coffee grounds would be interpreted. according to some research, coffee fortunetelling is unique to Turkish-Ottoman world.

As a matter of fact, older Ottoman States which are independent countries now such as Greece, Bulgaria, Egypt, Macedonia, Bosnia-Herzegovina, etc still preserves this folkloric tradition.

TRAVEL

Where life is slow:

SEFERİHİSAR – SIĞACIK Through the influence of globalization, cities have become living spaces where working and living continue rapidly, consuming is more than producing and self inability is common, and living areas are no longer the places where the people live in safety, for which they had been established, they have turned the places designed for people to move and work faster. 78

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nThe cities getting away rapidly from being social places where the people take refuge with each other for their warmth,get across with each other, presenting their hand made products to each other, become the scenes of living for consumption. As a result of the acceleration of life, people are always on the move with a certain tempo for the purpose of having meal faster, shopping faster, arriving at destination in short time. This lifestyle has put shopping centers into our lives rather than grocer,greengrocer,tailor, phantom trader; parking lots rather than the areas suitable for our children to play; wide motorways rather than more parks and green space. It is claimed that limited life which is the most important value of man is inevitable to be exhausted by

unhealthy food, air pollution, traffic, loneliness and consumption. This lifestyle made the cities unsustainable as well as causing modern people to catch many diseases, such as, depression, heart disease and cancer. This cities,not owning self-sufficiency,have exhausted not only their immediate environment but also many resources in the world, even by bringing them from the places of thousands of kilometres away,and consequently exhausting both nature and people. Since consumption-focused life didn’t make the people happy and peaceful and people have looked for different way of life, it has called for the movement of Cittaslow (slow City). Cittaslow’s philosophy claim that life should be lived in a

TRAVEL

speed enough to get pleasure from living. Cittaslow reveals that the cities where the people communicate with each other, being social, self-sufficient, sustainable, claiming their crafts, nature, traditions and customs, with non-infrastructure problems, renewable energy sources, benefiting from opportunies of technology, could be a realistic alternative. The Cittaslow Union, which was founded in the city of Greve in Chianti of Italy in 1999 is an association of municipalities ,to which the cities with population under 50,000 could be joined. It is required to design and implement projects to carry out the necessary criterias to join union.The studies

that cities accomplished in the framework of the criterias are graded and it is required that a city should have 50 and above point to become a member of union.As a result of that the criteras established by the union in 1999 spread not only in Italy or Europe but all over the world, they were attempted to become more universal.

TURKEY’S FIRST SLOW CITY: SIĞACIK The first center attempting to implement the concept of slow city was Sığacık ,situated in the town of Seferihisar in İzmir. There are two theories expressing that Seferihisar, within border of where Sığacık took place and that

took place in South of İzmir, was founded by Etruksians and Ionians.The traces of Aka, Carian,Ionian, Persian, Byzantine, Seljuk and Ottoman civilizations could be seen in particular in ancient cities of Lebedus and Teos, Myonnesos Island, madrasah and baths. The main source of livelihood is agriculture in Seferihisar together with Mandarin gardens, olive orchard, ties, artichoke plantations and fertile lands. Sığacık fortress and Ürkmez region ,attracting attention with 49 kilometer long coastline has been important in terms of tourism. Seferihisar have joined to the movement of Cittaslow , which came out against

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TRAVEL

globalization on making cities identical in 2009.The cities joined to the union with 182 members in 28 countries have to design and implement projects in the framework of established criterias. By fulfilling the criteria set by the Union, Seferihisar became Turkey’s first Cittaslow. All of those that since the municipality adopts “slow philosophy” and the projects it implemented, makes Seferihisar a leading municipality. Having become a member of a union who has a logo in the shape of a snail, the image of Sığacık changed in a short time. Some projects,such as, the use of local aromatic plants for landscaping, solarpowered street lighting elements, calculation of carbon emissions, waste water treatment plant and a solar energy plant construction are among visionary projects of Seferihisar. Local meals are being explored, native seeds are being protected, organic agriculture is being supported,producer markets are being established where producer could sell his products without any agent. The excavations in the ancient city of Teos restarts. Sığacık Fortress regains its former beauty with new street work. Seferihisar looks after its local features, which leads to awareness of people on this issue, and it becomes an sustainable movement spreading from down to up. And this change in Seferihisar arouses great interest in the media and national and international platforms.

A SAMPLE PROJECT: SEFERTASI RESTAURANT Sefertası Restaurant situated next to the village market in the center of Seferihisar offers local meals to visitors. It is not allowed to operate a restaurant running in

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the style of fast food within the framework of Cittaslow criteria in the city. As a result of meetings conducted with elderly people of town in order to explore the local meals of Seferihisar inclined to be forgotten , various recipes of meal was obtained. At Sefertası restaurant, you can explore these Seferihisar origined delicacies, such as, Samsades, Nohutlu Mantı, Ekmek Dolması, Loklok, Tatlı Tarhana ve Yuvalaça, remembered through implementation of these recipes.

family economically because of lack of education and economic around Sığacık,to be socialized as a result of being profited from profession acquiring courses,and also providing business opportunities to be increased.Through the women labor homes established in this context, both women have profession and work in an environment contributing to their social lives. Currently, there are two women labor homes in Sığacık continuing this activity.

DEVELOPMENT PROJECT OF SUSTAINABLE FISHERIES

SIĞACIK LOOKS FOR GUESTS

A project also was carried out in the field of fisheries created by the thought of sustainable production revealed by slow city philosophy in Sığacık.In the scope of the project carried out for the purpose of supporting local production, and strengthening fisheries sector thus promoting it to EU standards, production and marketing standards of Seferihisar fishing cooperatives will be promoted to European Union standards by means of experiences of Italian partners,production and marketing capacities will increase and sustainable fishery in Seferihisar will begin to be performed. In the scope of the project resulted in solidarity of two Cittaslow towns, Seferihisar and Italian Pollica, the fishermen of two towns shared their experiences,they educated about EU standards on fishing, fish auction area was renewed, ice machine and cold room construction was carried out. SOCIAL LIFE: WOMEN LABOR HOMES Philosophy of slow city produces projects not only in the field of economics, but also realizes a project aiming at that by providing the women forced to live dependent to their

If you have been distressed from tempo and stress of the city you live in,you might visit the people thinking that any kind of lifestyle doesn’t exist.You may slow down your life by getting away from the fast life style of big city and perhaps you can experience an unforgettable time zone.

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