Design in Kurdistan

Doreen Toutikian

REPORT: DESIGN IN KURDISTAN (KURDISH REGION OF IRAQ) Developed for International Organization for Migration (IOM)

REPORT: DESIGN IN KURDISTAN (KURDISH REGION OF IRAQ)

"The design industry, with its diverse segments, ranging from industrial and corporate design to service and social design, is one of the key drivers of innovation in the economy. Directly or indirectly, nearly all industrial sectors utilize design-related ideas, concepts and approaches. Design covers a far wider field than just a product with an appropriate or appealing external form. There is increasing interest in resource-efficient production processes, sustainably produced products, and building strong brands or corporate identities. Integrating design expertise into innovation processes is one key factor in developing organisational, process-related and user-centered innovations, and so securing a company’s competitive edge. Numerous studies have shown that strongly design-aware enterprises are more economically successful and have a greater capacity for innovation."

Creative Industries Report, Senate Department for Economics, Technology and Research, Berlin

Evidently, over the past decades, the design industries have played a major role in developing economies of cities and nations. This phenomenon has also gained traction within countries of the Middle East and North Africa that have been relatively stable, and allowed designer communities to bloom. Such countries so far include Lebanon, the UAE, Turkey, Iran, Morocco, Tunisia, Jordan and Egypt. Moreover, the success of newcomer design culture from the region has sparked global interest, highlighted through international design events and the media, due to a unique sense of contemporary aesthetics that relates to the cultural identity of the MENA region.

Based on the request of the International Organization for Migration in the Kurdish region of Iraq (KRI), this report is a primary investigation into some of the design and design-related activity currently taking place there; highlighting challenges and opportunities for developing training programs and visibility strategies for market development. The outcome is based on a one-month study of the current situation in KRI, including two weeks of field research in Sulaymaniyah and Erbil. The goal of the study is to eventually develop a sustainable community of designers that can create the contemporary brand and aesthetics of Kurdish Design and contribute to the nation's creative economy.

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I. METHODOLOGY The following selection of design research methods were applied in order to provide a comprehensive and qualitative overview of the current status quo and a means to assess the needs of an upcoming design community: LITERATURE REVIEW & ONLINE MEDIA RESEARCH DEFINING DESIGN & DESIGN-RELATED SECTORS FINDING RELEVANT CONTACTS & DEFINING STAKEHOLDERS STAKEHOLDER MAPPING STAKEHOLDER INTERVIEWS VISUAL URBAN RESEARCH ANALYSIS & EVALUATION RECOMMENDATIONS In view of the increasing number of design and design-related sectors developing in the region, and with a research approach to obtaining a more accurate and fairer picture of the industry, all relevant sectors of the creative industries were investigated. A list of all the sectors taken into consideration for this study are stated within the scope of the research.

Next, and a wide range of available stakeholders were mapped out (i.e. educational institutions, public sector, private sector, foundations or non for profit organizations, individual practitioners, social enterprises, industry bodies...etc) and further interviewed and analyzed. During the initial phase of the assessment, a significant amount of stakeholders were directly invited to take part in the analysis through discussions and interviews.

The primary areas of interest that were researched include education, work status, gender relations, work spaces, socio-cultural factors, methodology of work and process, research methods, resources, collaborations, production and manufacturing, sales, exposure, marketing and communication strategies, networking, competition, benchmarking, global markets, online markets, outreach, exhibition events, business development, brand awareness, legal matters, intellectual property, sustainability, security, and future plans.

With regards to quantitative information, seeing that is a lack of data collection and analysis in general in KRI, and knowing that such information cannot be conclusive based on some interviews; a small part of the research focused on figures and numbers that relate to income, profit margins, sales, investment, funding, growth, job creation, and salaries. However, much of the information received was unreliable.

With regards to the specific area of skills and professional development needs, the needs assessment will be geared towards mentoring programs (i.e. mentorship schemes, internships and apprenticeships) as primary needs, whereas skills development as secondary (i.e. business skills, sector specific skills, basic skills).

In addition, the need for developing an aesthetic that is culturally and yet globally relevant is one of the main targets of the study. Other main opportunities to be identified are the development of a solid and sustainable creative economy which consists of small industry platforms working together locally, regionally, and internationally.

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The outcomes of the research provides a solid framework to develop a successful structured program that will be based on a model for advancing individuals in their professional career and for establishing a connected network of creative experts in KRI and Kurdistan.

II. SCOPE OF RESEARCH Within the scope of the study is research aimed at exploring opportunities, identifying needs in the design and design-related sectors to gauge whether a creative and dynamic training program would be a feasible and applicable solution. The study aims to gain insight, evidence and knowledge about the current status of affairs of the industry both in terms of skill gaps and infrastructure needs, as well as future opportunities.

As an initial study, especially in groundbreaking work where it is suspected that little to no activity is taking place; identifying stakeholders are essential in order to better understand the situation directly from the people who are most involved within the design and design-related sectors.

A. DESIGN & DESIGN-RELATED SECTORS The design and design-related sectors investigated and represented (if available) through companies, individuals, and organizations that are professionally active in KRI are the following: 1. Crafts: Tapestry, Textiles, Pottery, Ceramics 2. Industrial design, product design 3. Fashion & Accessories Design 4. Jewelry Design 5. Interior Design/ Furniture/ lighting 6. Graphic Design/ illustration/ typography & Calligraphy 7. Digital Design: user experience, user interface for web & mobile apps 8. Advertising, marketing and social media 9. Architecture & urban planning 10. Design Thinking, Service Design, Strategic Design 11. Design for social impact 12. Design Research 13. Manufacturing: woodworking, metal forging, paper, glass, stone, plastics

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B. EDUCATION & TRAINING A number of higher education institutions with design related programs were investigated through interviews with instructors, current students and graduates. Furthermore, additional training institutions for career development and business training were also looked into. They are as follows: 1. Architecture Department, University of Koya 2. Engineering Department, American university of Iraq Sulaymaniah 3. Urban Planning Department, Polytechnic University Sulaymaniyah 4. Architecture Department, Cihan University 5. Architecture Department, Salaheddin University 6. Slemani University College of Fine Art 7. Entrepreneurship training, Five One Labs 8. Business Courses, KC Sama 9. Business & Entrepreneurship courses, Kurdistan Economic Development Organization

C. COMMERCIAL OUTLETS & VISIBILITY A number of commercial outlets were investigated, as well as museums and temporary exhibitions that may increase visibility of Kurdish Design. They are as follows: 1. Erbil Citadel Textile Museum 2. Diyari Kurdistan store (Kurdish souvenirs and gifts) 3. Prosperity Catalyst Exhibition + online store 4. Zozan online store 5. Amna Suraka 6. Kurdish Heritage Museum (Sulaymaniyah) 7. Midia gallery (Erbil) 8. Bazaar of Erbil 9. Various traditional stores in Sulaymaniyah

D. INTERVIEWEES 1. Ghareba Hussein, fashion label entrepreneur at five one labs 2. Alice Bosley, Director at Five One labs 3. Ramseena Askar, Prosperity Catalyst 4. Noor Hashim, Prosperity Catalyst 5. Samar, beneficiary in the program at Prosperity Catalyst 6. Fadwa, Jewelry & accessories trainer, Daratu IOM program 7. Ali Zeyto, CEO, Diyari Kurdistan 8. Dr Sahar, Koya University, Instructor in Architecture Dept 9. Rawen Pasha, Koya University graduate, Architecture Dept.

10. Rebwar Abou Bakr, Koya University graduate, Architecture Dept.

11. Erbil Citadel Textiles Museum tour guide 12. Aree Sarchill, Freelance graphic designer & architect

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13. Steve Al Sati, fashion designer & heritage embroidery specialist 14. Noor Aziz, Architect & CEO at Interno 15. Rawa Ali, Co-founder Mr. Erbil, social media platform 16. Mr Ahmad, Shalen Gallery 17. Mr Rzgar Aziz Galalayi, owner of Carpet Factory in Sulaymaniah 18. Traditional clothing tailor in Sulaymaniyah 19. Dr Farzad Sanati, Principal SDE, Dot Net 20. Amanj Ali, CCO, Avesta Group 21. Razhan Mamim, graduate from Cihan University, Architecture Dept.

22. Shadan Saeed, Executive Director, KC Sama 23.Hussam Hakim Barznji, General Director, Kurdistan Economic development Organization 24. Amna Suraka tour guide 25. Mr Erfan Othman, owner of Kurds heritage Museum 26. Mr & Mrs Kurdistan Development Program 27. Mr Riad, Calligrapher 28. Dr Karzan Ismael, Sulaymaniyah Polytechnic University, Urban Planning Dept 29. Mina Bassam & Mohammed Badee, graduates and staff at American University of Iraq 30. Kosha Hussain, CEO Mirsha Media 31. Rabi Habash, Co-founder ReTexture 32. Dilovan Teli, Marketing Supervisor, UX/UI specialist, Korek

III. OVERVIEW OF FINDINGS A. MAPPING THE DESIGN SECTORS IN KRI As a general overview, based on all the in-depth interviews and the desk research, one can say that there is ample design activity currently taking place in KRI. However, they can be viewed as scattered personal initiatives and very small businesses with minimal impact, and in no way a network of professionals that form a design community.

Design practice is essentially an entrepreneurial initiative, especially in a region where very little creative and relevant commercial activity is taking place. For the past years, "the economy of the KRI and of Iraq has been disproportionately driven by the public sector. 40% of Iraq’s labor force is currently employed by the public sector, which is noticeably higher than in more diversified economies in the region, such as Jordan (31%), Iran (17%), and Turkey (12%). In the KRI, meanwhile, public sector employment accounts for 70% of the labor force." (Obstacles and opportunities for Entrepreneurship in Iraq and the Kurdistan Region, Aaron Bartnick, Institute of Regional and International Studies, American University of Iraq, 2017).

In the past, being employed by the government was a career goal for most.

However, most interviewees claim that this hope people had was no longer a viable option, because salaries were no longer being provided due to the reReport: Design in Kurdistan Doreen Toutikian

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cession. Therefore, many of the younger generations have attempted to start a small creative business and use online resources for self-promotion. This is most obvious with Graphic Designers, who are all essentially self-taught. Moreover, with the large number of displaced peoples in KRI, the need for alternative and creative ways of generating income has also lead to a variety of people to establish design and design-related small businesses. However, even though some notions of design are scattered across the nation, in order for this small industry to flourish, it needs a supportive ecosystem.

IN KRI, “the private sector is quite small and consists primarily of providers of non-tradable goods and services (Kurdistan’s Great Recession, Mark DeWeaver, Institute of Regional and International Studies, American University of Iraq, 2015). 'Entrepreneurs and the businesses they create are defined by the World Bank and the world’s single greatest engine of economic growth. Small and medium enterprises account for over half of existing jobs worldwide, and create jobs at more than twice the rate of more established companies. They are driving innovation by generating new ideas, new products, and creating new businesses, which is why the World Bank has cited entrepreneurship as a key driver of growth and development and a cornerstone of the unprecedented efforts needed to promote private sector growth in emerging markets" (source: World Bank Group, “Entrepreneurs and Small Businesses Spur Economic Growth and Create Jobs”, June 20, 2016). Therefore, throughout the developing countries, and particularly in Lebanon, the government and international organizations concerned with the economic growth of the country have focused all their programs on entrepreneurship funding and training programs and particularly for young and creative people working in Design and Technology. Over the past decade and largely due to these programs, a substantial community has emerged, forming what is now a relatively self-sustaining and growing creative economy. This research aims to find common links and replicate some of the successful mechanisms that lead to this growth, and explore opportunities for young creatives in KRI to build such a community and creative economy.

In order to provide an overview of the current status quo, each design and design-related sector that has been investigated in KRI is mapped below; focusing on its origins, current practices and challenges. Not all sectors investigated are represented due to insufficient data in some cases, or no apparent opportunities for growth and development at the moment for others.

1. CRAFTS: Tapestry & Textiles Crafts are the humble beginnings of design, before industrialization and standardization. In most countries, where an industrial infrastructure for mass production was never established, one could find a somewhat surviving crafts community who use handmade and basic analogue tools for woodworking, ceramics, glassblowing, and textile production. However, without exception, all regions of the world have been drastically affected by globalization, and the mass influx of China's overproduction and exportation; which has left very few active craftsmen struggling in this field of work. Nonetheless, as KRI has never had a industrial past, this was the first area of research. After much searching, it seemed that only the tapestry and textiles sector was significant.

There might have been a somewhat sustainable carpet making industry in Kurdistan in the past decades. However, due to the economic crisis and high

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Images taken at the carpet factory in Sulaymaniyah

Images taken at the Textile Museum in Erbil Citadel

competition with the two neighboring countries, Turkey and Iran, the industry is now practically non-existent in KRI. After visiting one of the very few remaining carpet factories in Sulaymaniyah, and interviewing the owner Mr. Rzgar Aziz Galalayi, the picture became quite clear. There has not been sufficient demand for locally-produced carpets for years, with the exception of a few small carpets mostly for prayer or for depicting the portrait of a deceased family member or political figure. Currently, retail price ranges from $200-$800 per meter square depending on the quality and nature of the thread which could be cotton, wool or silk. The factory currently has a warehouse full of thread, looms, and trained women who can weave any design given to them; the infrastructure and resources are all available. The two main challenges that the factory faces are that (1) there is insufficient demand from the local market and therefore alternative markets must be explored; and (2) some of the designs could be developed into more global and contemporary aesthetics to suit the demands of an international market.

There are a few museums in KRI (the Textile Museum in the Citadel of Erbil, the Kurds Heritage Museum and Amna Suraka in Sulaymaniyah), and the main items that form a strong cultural identity of heritage are carpets. This indicates that there must have definitely been a rich culture of tapestry making, and the majority of the older designs are quite fascinating, and on global standards would be very valuable nowadays. Authentic carpets and kilims that are hand made and not overpriced are always in high demand. It seems obvious that if this industry were to be revitalized with a proper strategic plan, especially in terms of export to global markets, it could be a valuable economic asset to the nation.

2. FASHION: Clothing & Accessories

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Neotraditional examples of fashion design from Tehran (Persia Collective) and Beirut (Orient 499)

Collection of historical caps worn by men of different tribes of Kurdistan at the Textile Museum in the Citadel of Erbil

KRI depends almost 100% on Turkish and Chinese imports when it comes to clothing and accessories. This is common in many parts of the world and trying to compete with that industry in most cases is a futile attempt. However, many design communities active in fashion, have attempted to rethink the fashion sector as a 'special garments' niche, where specific needs are met for specific clientele. The needs are often related to special events such as weddings, but also unique items that complement the day-to-day wear and offer a more distinct identity in their designs. Identity is a key aspect of fashion design, because it drives consumers to buy clothing or accessories that might exceed the average retail price because they find something in the piece that manifests part of their characteristics, values, or affiliations. It is more than a matter of trend that is incorporated in this form of fashion design. It is often a niche market that rethinks and redesigns traditional wear or specific symbolism to suit contemporary needs. This new trends of neo-traditional clothing is on the rise throughout the Middle East. Furthermore, with this aspect of fashion design in mind, Kurdish cultural identity provides much inspiration for the development of such a fashion design industry.

Kurdistan has left behind a legacy of textile accessories that bear some of the most intricate and exquisite patterns in the form of caps worn on the head by men who belonged to specific tribes. Each pattern and color scheme represents a group from a certain region with a certain heritage and cultural identity. These patterns are the perfect starting point for the development of contemporary fashion accessories that are unique and conceptually powerful. If they are redesigned, marketed and available for retail they would be on high demand, not just for Kurds around the world but also for all those who appreciate ethnic beauty.

Upon looking into the availability of these caps in KRI, it was clear that they had not been made for decades and are now only on display in museums.

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Traditional Kurdish clothing for men tailor made from natural wool

Steve Al Sati (below left) and his embrioderies.

Another unique textile feature to Kurdish culture is a wool fabric that is extracted and weaved in a specific way, cut into lengthy fabric with a narrow width and used to tailor traditional clothing for men, still in use today. The wool is purchased and tailor made for each customer into a jacket and loose pants. Many Kurds still wear this traditional costume for special occasions and some even on a daily basis to portray belonging to a prestigious tribe or family. The design of this costume has remained unchanged for as long as there were tailors making them. There has never been an attempt to redesign the outfit; neither in fitting, nor in the fabric itself. The costume comes with special handmade canvas-like shoes with a unique stitching and roping mechanism. This very well established culturally relevant clothing, may present another opportunity for design that may be marketed to a younger generations of Kurds or even the interested global consumer; much like the Japanese traditional costumes that have been modernized and made available for consumers worldwide.

The notion of reviving a cultural identity, that has been lost or that is no longer relevant to the youth, through clothing, is actually being strengthened due to the devastating aftermath of IS attacks in Iraq. In fact, one ambassador of this revival is Steve Al Sati, a fashion designer, heritage embroidery specialist and a craftsman of many artistic skills. Coming from a Christian family and fleeing his home due to the attacks, he realized that so much of his community's heritage was lost. Clothing that had been passed down from mothers to daughters over generations was instantly wiped out of existence. So Steve made it his mission to learn from the oldest women in his community who survived, by listening to their description of the embroidered patterns that were lost, and remaking them for the women in his community. However, it wasn't enough for Steve just to remake the lost clothing for the older women; he realized that the younger generations of women were not identifying with these traditional clothes and patterns, so he redesigned the pieces and modified the patterns to fit the lifestyles of younger Kurdish women from his community today.

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Since he started, which is now two years ago, Steve has a large following of diaspora and locals who demand his designs sometimes a year in advance. As his work load grew, he started training his sister and then other women to learn the embroidery methods and designs, providing them with income and skills development as well. He insists on quality and is obviously very meticulous in his approach, he has been training the women who work with him not just with the art of sewing and embroidery, but also the love of detail and perfection; an aspect of his work that his clients truly appreciate.

3. CALLIGRAPHY (EL KHATTAT)

Works by Studio Kawakeb, a graphics studio from Beirut, using retropective calligraphic styles for branding & advertising

Calligraphy, one of the greatest artforms to which Arab culture has massively contributed, is very much alive and almost underrated and unappreciated in KRI. In Lebanon or the UAE, where all signage has been digitalized (using mostly Arabic fonts) for some decades, finding a good calligrapher for a special project is not an easy task and an expensive one. Yet, one can find hundreds of calligraphers in the streets of Erbil and Sulaymaniyah, and their prices are affordable beyond compare. Moreover, calligraphers are back in high demand in places such as Beirut, Istanbul, and Dubai, because the retrospective vintage style is demanded by many brands that are trying to look authentic and avant guard.

However, graphic designers in KRI do not see the value in calligraphy, because those retro trends are still in many ways the 'present old'. In fact, as graphic design is still underdeveloped in KRI, the trend is still to adapt to international styles rather than search for contemporary authenticity. Nowadays calligraphy workshops are also on high demand for Arabic-speaking and non-Arabic speaking designers and amateurs. There is an untapped value in this artform in Kurdistan and finding ways to benefit from it might be economically viable for many calligraphers in the region.

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4. GRAPHIC DESIGN: Digital Design, Website & UX/UI, and Branding Collaterals Graphic design, in all its print and digital aspects, is a fairly active design sector in KRI; considering that there are no graphic design programs in any university or training institute whatsoever. This is quite unusual, since graphic design has been on demand for all industries for many decades. Currently, all those working in the field as freelancers or employees, are architecture, fine arts or computer science graduates who have taken online tutorials to learn the software and followed trends on social media platforms such as Behance and Pinterest.

Works by Aree Sarchill

Aree Sarchill, a self-taught freelance graphic designer, and a graduate from architecture at Salaheddin University is specialized in modernized Islamic geometric patterns and 3D renders. He finds work through Behance and Instagram with clients from USA and Australia amongst others. For his international work, he depends on Western Union for all payments.

Works by Dilovan Teli

Dilovan Teli is also a self-taught graphic designer and graduate of Architecture from the University of Dohuk. In addition to Aree's skills he has also learnt basic coding languages like Drupal, HTML, PHP, JavaScript, Jquery, CSS mostly for website development. Apart from working as a freelancer, he is also production supervisor at Korek Telecom in Erbil, which is one of the two leading telecommunication companies in Iraq. Surprisingly however, all the graphic design work of Korek is outsourced to a Lebanese design agency. With more than seven years in the business, Dilovan thinks that the majority of the work developed by graphic designers in KRI is disappointing to clients, because many of them lack conceptual and client servicing skills. On the other hand, he states that clients refuse to pay decent wages to graphic designers, resulting in poor quality work.

Currently the price range for a full branding campaign with logo and all collaterals in KRI ranges between $50 and $500. Therefore many graphic designers have side jobs to get by, rendering the whole profession more of a hobby rather than a serious career choice.

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Works by recommended freelance graphic designers Allan Jabbar, Barzi Barawi and Arshan Khan

Ali Amanj is owner and CEO of Avesta Group, a leading IT and web design company in Sulaymaniyah. He studied computer science in University and took extra training courses and tutorials to learn about web design abroad, and now has a fairly successful business designing the website of some of the biggest Iraqi news and media websites. Although he doesn’t employ graphic designers, he has access to some of the most well known graphic designers in Iraq, most them are fine arts graduates and are therefore considered artists in KRI. He also mentioned that the graphic design community is quite active compared to others, and that there are Behance community meetups often in Sulaymaniyah and Erbil, which are good signs that the profession is developing; however, the community is still very small and Behance meetups are not providing enough exposure or networking opportunities for these designers.

5. INDUSTRIAL, PRODUCT & FURNITURE DESIGN KRI has no industrial manufacturing infrastructure on any scale for mass production. However, the knowledge to develop industrial design is available at the American University of Iraq, which also houses 2 large labs where students can learn how to use and create the latest tools for manufacture. Upon meeting with the head of the engineering student club, Mohammad Badee, he informed us of all the courses students take to develop all sorts of machines. The Bachelor degree in engineering offers two courses at the end of the 4th year called Design I & Design II, but principles of design theory were not taught in those classes.

Instead they are practice-based courses in order to develop the final project.

Students had claimed previously that they would like more design related courses; but that hadn't happened yet. The students of AUI seemed very well educated, positive and engaged.

Some of the machines at the American University of Iraq Engineering lab (above)

Upcycled furniture from wooden pallettes from Re-Texture (below)

The only active and creative furniture design and maker group we encountered in this study are Re Texture; a small company of four engineering graduates who upcycle wooden palettes into furniture pieces. Their main target groups are expats living in KRI, since the local community apparently does appreciate the upcycled trend. They use simple tools as well as industrial wood-working machines such as drills, cutters, planers, saws, grinders, lathes, and dust collector to create the pieces. The design of each piece is based on the client's needs, and the price of the products range between $20 and $500.

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6. ARCHITECTURE & INTERIOR DESIGN Although architecture is not a direct focus as a design sector in need of development in this study (due to its challenges on much larger scales such as permits, real estate and cost of execution in relation to the financial crises); it is still important to mention because it is the only educational background available in KRI that informs about principles of design. After speaking with lecturers and graduates from various universities, as well as professional practitioners, there are some insights worth mentioning for the grand scheme of this report.

The bachelor degree for Architecture in KRI is named Architectural Engineering, it covers some basics of Architecture and some of civil engineering. There are no specializations but most degrees even cover landscape architecture, interior design, and urban design. At first glance for a design educator, which was later confirmed by all interviewees, it seems that there is little attention given to details and that a general overview of most aspects of the profession is all that is required for graduation. Therefore most working architects are often also designing the interiors and being the contractors in charge of building. Also, there is little to no research involved, and no real conception of sustainability, one of the key pillars of contemporary architecture. The curricula have not been updated for decades, because of the political situation in the country which prevents any changes that need to be approved by the government, this applies to both public and private universities.

Interviews with Architecture Lecturers and graduates

Dr Sahar, Assistant professor of Architecture in the University of Koya, adds to the list of challenges, focusing on the conditions of acceptance of students into the department. Students are enrolled based on high school grades where there are basically no art classes (up until the 12th grade, students are asked to draw a house and trees as a test); therefore the artistic or creative skills are not honed throughout childhood. Moreover, only students with certain grades are accepted, yet it seems common practice to get a 20/20 as overall average for a graduating high school student. And finally, many students are not in architecture because they are interested in the subject, it is for many, a condition from parents as a prestigious subject to study in society.

Rebwar Abou Bakr and Rawen Pasha, both graduates of Koya University Architecture Department, and ex-students of Dr. Sahar, as well as Noor Aziz, CEO of Interno Architecture and graduate of Architecture from Salaheddin University, and Razhan, a graduate from Cihan University all confirm the challenges they have been facing as Architecture graduates. Except for Aziz, who is from an older generation, all of them, as well as most of their fellow graduates are currently not working as Architects.

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B. INSIGHTS, CHALLENGES & OPPORTUNITIES In this chapter of the report, the main insights collected throughout the research from stakeholders are presented and identified as specific design challenges, which can then be turned into opportunities for the development of the aforementioned design sectors in KRI. All the issues and challenges that have risen throughout this study are strongly linked to education and art appreciation on a societal and cultural level. A rich cultural heritage that was once abundant has been erased because of ongoing political struggles. It is not unusual to think that, in a nation as economically and politically desperate as the KRI, design is a frivolous sector to consider and irrelevant to urgently needed solutions. But as a proven global economic advantage, investing in the design sectors could yield surprising results.

There are many serious challenges that are currently affecting the KRI. For the sake of relevance, this report will not go into any of the political details. It will also not look into the obvious issues that are often combined with similar political situations such as corruption, nepotism, lack of transparency, lack of data, social and religious restrictions, patriarchal hierarchy, and lack of gender equality. However, it is obvious that all those challenges play integral roles in the general assessment of the current status quo.

The gathered insights have been categorized into four segments that relate to design in various aspects. It is important to note that all the observations and analysis below are based entirely on the input of the stakeholder interviews.

EDUCATION There is an obvious lack in arts and culture within education in the KRI. The government has been focused mostly on economic development through the oil and gas industry, and has not made similar efforts into educating the youth and investing in arts & culture. Moreover, the school system does not promote critical thinking, a major component of creativity. The methods of teaching since childhood state that the teacher knows all the answers and is always right; so most of the communication between the teacher and students is straightforward, top-down, with no critical discussions. Stimulating curiosity and creativity is not a priority. This affects people in their adulthood immensely, and such stimulation is necessary for the promotion of a creative culture.

There is desperate need for extra curricular programs to widen the imagination and the critical thinking of children, in order for them to express themselves creatively and develop a direction towards design and artistic production. The youth must not only be taught conceptual skills, but also craft skills which teach meticulousness and attention to detail. These in turn enhance the knowledge of aesthetics and beauty standards. Throughout the research more than a dozen participants including professors in university, professionals, and even young graduates, insisted on the importance of creative skills development for the youth.

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not receive training for their artistic skills, then business skills will not be enough for a successful career. There are so many cases of good entrepreneurship ruined by poor quality of products. Moreover, those who receive proper training to enhance their design skills would not only be more successful entrepreneurs, they would also be able to help many of the dying industries in KRI who are not being able to innovate in their designs and meet market needs, such as the carpet factories.

CULTURAL HERITAGE & PRIDE Most of the discussions with the youth indicate a strong sense of Kurdish identity and pride in the nation. Recent events that have caused thousands of people to be displaced, has provoked a collective sense of belonging and patriotism towards Kurdistan. This momentum is still at its infancy and it shows outsiders a surge of enthusiasm and energy with the hope of a better future. Most participants in the research spoke of a need to have Kurdish products with a stress on the revival for the authentic and the handmade, especially in line with lost heritage due to the recent displacement of people. There is also a dislike to the unauthentic Turkish and Chinese imports that are the most common consumer products, especially in clothing. Stakeholders like Steve Al Sati, who recreates authentic embroidery patterns, Ghareeba Hussein who is now starting her own children's clothing line with Kurdish inspired designs, and Rawa Ali who is co-founder of Mr. Erbil, a community that promotes a positive image of Kurdistan through social media; are all essentially saying the same thing. They all represent the youth who wants to re-narrate the story of Kurds to the world through clothing designed with cultural sensitivity and an appreciation of long lost heritage.

One of the participants in the study said "there is no design history here like in Beirut". This is another insight into the lack of appreciation of cultural heritage which is not being promoted properly to the youth through museums and cultural programs. All three museums visited in KRI have no ongoing programs or activities and therefore are not active spaces that receive visitors. If they were to develop programs and encourage schools to attend, a source of inspiration would be re-instated.

COMMUNITY BUILDING & NETWORKING "I'm all alone and I have no capital to start my business" said one of the young design entrepreneurs in an interview. And a director of a training program mentioned that "there is a deep fear of their ideas being stolen, they often refuse to have business partners, they won't even trust friends". These are common sentiments and fears in places where there are no communities with like minded members that experience the same challenges and therefore support each other. Trust is very difficult to achieve in societies where copyrights and intellectual property are not well established; but in order for the design industry to flourish, there needs to be a strong collaborative community.

Except for a few rare Behance meetups, an international organization that promotes the work of mostly graphic designers to discuss their portfolios, there is no space for designers to meet, network, collaborate and learn from each other.

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There have been two meetups so far: one is Erbil and one in Sulaymaniyah with a relatively small audience. Most designers in the field confirmed that more of these events would really help uplift the value clients give to graphic designers.

Photos of Mr. Erbil community

Rawa Ali, Co-founder of Mr. Erbil, believes in the power of the community, and this is all due to social media. Him and his friends decided to go out in public in the most fashionable clothing and make a statement. Through fashion, design, and social media, they wanted to show a better image of erbil and Kurdistan, in contrast to ISIS. Within a month, they were all over the international press with leading headlines in GQ, Vocativ, The Guardian, and Vogue Magazine. Mr. Erbil is a community of 30 dedicated volunteers who not only pose around for photos, they have a long agenda that they want to achieve. They want to change mindset of Kurds about local products, employ local workers for suit making, encourage the support and respect for women's equality, and build a community around those values across Kurdistan. So far, they are the only young community initiative with a huge following in KRI and have more than 90K followers just on Instagram without sponsored posts.

In order for designers and creatives to flourish, there needs to be spaces and events where they meet and network. Hundreds of years ago, guilds were created for that same reason. These communities or networks become stronger over time, and eventually promote the value of the work being produced, show strength and equality with other sectors, and encourage the protection and well being of the professionals in the job market.

THE MARKET

Diyari Kurdistan souvenir store and zozan.com online store

Although a market study has not been developed, it is crucial for such an endeavour of developing the design sectors in KRI, to look into outlets that could provide sustainable income to designers. As the current economic situation is not ideal, strategies for international export must also be considered. Two promising option have been looked into so far, one which is a store in Erbil and an online store for Kurdish products based in Germany.

Ali Zeytu is the owner and CEO behind Diyari Kurdistan. They are the only souvenir shop that focus on Kurdish designed products. Upon interviewing Mr. Zeytu, he mentioned that despite the economic crisis, he is still hopeful. However, he struggles to find talent and contemporary looking but Kurdish inspired designs.

He has tried training university graduates and reached out to many artists and designers, but is generally disappointed with the level of work he receives.

Diyari is also a national project, done in partnership with governemnt authorities. They plan to expand to the airport duty free, once the economic situation is better, and are very enthusiastic about working with new designers and creating a new aesthetic to the Kurdish souvenir store.

Zozan.com a fairly successful online platform is another option to consider.

Upon being interviewed and asked about the potential of selling designer good from KRI, they answered the following: " Our company works in the EU, but produces in both the EU and in parts of Kurdistan. Currently we are producing in Northern Kurdistan (Turkey), but we are eager to expand into the Kurdistan Region of Iraq as well. We deliver to the KRI, but until now we don't produce there.

Our aim is to make modern fashion with Kurdish motifs, but also to offer our

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customers traditional Kurdish fashion. Our company is pretty young, but our aim is to give the Kurds a positive connotation through modern, stylish and positive fashion. We want Non-Kurds to see the other side of the Kurds, far from politics and war. Our main goal is to provide Kurdish and Kurdish-inspired products to everybody worldwide. If you know any company or individual who produces in a good quality, you can introduce them to us and we are ready to open up shops for them on our platform. We would do the logistics, the marketing, the payment transactions, and all technical details."

Based on all the insights, challenges and opportunities, the following chapter will focus on recommendations which are strategic programs that aim to develop the design potential in KRI.

IV. RECOMMENDATIONS The mission of this study is to develop programs that aims to alert and advance Kurdish skills in the creative entrepreneurship and the design industries as a potential career path. The program is seen as a long-term initiative seeking to generate a momentum that can be sustained and make a significant contribution to the shaping of upcoming Kurdish design industries.

The programs would be structured in a way to achieve the following objectives: • To nurture, develop and connect emerging innovators by offering a unique learning and mentoring opportunities with established creative professionals; • To support the international aspirations of talented Kurds by connecting them with international opportunities; • To unleash the creativity and enterprise of Kurdistan by emphasizing support for locally developed and locally relevant design; • To advance the skills and confidence of emerging young Kurdish talent by constructing a program of skills sharing, peer to peer learning and networking; • To develop a structured mentorship scheme that is a model for moving people up the professional ladder by establishing a group of champions able to advocate for, promote and attract others to the sector.

A. CREATIVE SKILLS DEVELOPMENT PROGRAM The first recommended program is dedicated to creative skills development which is compromised of 4 courses, each for a duration of 3 months.

• • • •

VISUAL RESEARCH & CONCEPT DEVELOPMENT GRAPHIC DESIGN: CALLIGRAPHY & ILLUSTRATION FASHION DESIGN: PATTERN MAKING & EMBROIDERY FOR TEXTILES PRODUCT DESIGN: WOODWORKING, METALWORKING & 3D PRINTING

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This program would be open to everyone in KRI including IDP's, university graduates and otherwise above 18 years old. All applicants must present a portfolio of basic creative skills and show dedication to developing a career as a designer.

The trainers and mentors of the courses must be accomplished professional designers in the respective fields from the Middle East, who speak Arabic and can identify with the cultural heritage of Kurds aesthetically.

All participants must take the visual research and concept development course, which will enhance their understanding of design concepts and aesthetics, and one of the other courses depending on their interests and skills sets. All the courses focus on the manual skills but also integrate digital technologies wherever possible. For example, the calligraphy and illustration course will not only help in the development of the art but also teach how to digitize the outcomes with the relevant software. Participants in the fashion course will learn traditional pattern making for clothing and accessories but also the details of Kurdish embroidery and develop contemporary versions of the designs using software.

Product design participants will learn all he analogue and digital tools for woodworking as well as metal forging and the software to 3D model concepts and prototype using 3D printing.

At the end of the 3 month program, each participant must present a final outcome that will be judged by an external jury, the best products will be assembled into a collection to be exhibited locally and internationally.

B. CREATIVE DIGITAL ARTS PROGRAM FOR KIDS

Children taking classes in TUMO Yerevan

The second recommended program is aimed at kids from 12 to 18, this program is more tech-oriented focusing on digital arts, media, and coding for kids. A very successful case study of such a program is the TUMO Center in Yerevan, Armenia (tumo.org).

There are many similarities between KRI and Armenia, especially when comparing the level of arts and culture and the creative economy. Seeing that the ministry of education was not prepared to solve these challenges, a private initiative was established to support the needs of upcoming generations and create career opportunities within the design, media, app development and arts sectors. TUMO offers children short term and long term courses for free, with mentors and trainers from all over the world, who come to teach them a variety of skills of the latest technologies. The impact of such an innovative center has been massive, with recent 'graduates' already starting their own app development and production companies. This example shows that investing in the youth is one of best long term solutions for the challenges that KRI is facing today. A Report: Design in Kurdistan Doreen Toutikian

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detailed course program and curriculum could be further developed, perhaps in partnership with TUMO.

C. NETWORKING EVENTS A series of networking and community building events must be established on a regular basis to support the designers community. This can be done in partnership with Mr. Erbil who already has a huge following on social media, as well as all the active graphic designers, and entrepreneurs in the region. These events can be Pecha Kusha style gatherings, where creatives showcase their work but also open up discussions about challenges and solutions that people in the creative community have encountered and overcome. The major purpose of these gatherings is to build trust, develop collaborations, learn from each other, and become a reliable network for others to join. A yearly program with guest speakers from the community and abroad, along with a social media campaign that documents the events with video, images and content, under one umbrella will also be great educational and cultural exposure for Kurdistan. Such a channel will not only uplift the current negative exposure of the region but also potentially provide jobs internationally for the creative community. Eventually, with a sustainable network and ongoing well-attended events, a design week may emerge, putting the whole community on a global platform and inviting tourists and media to come and experience culture in Kurdistan.

D. LOCAL & INTERNATIONAL EXPOSURE A strategic plan should be devised to connect Kurdish designers to international platforms in order to build a more diverse and larger audience and offer work opportunities. Once the programs have yielded some graduates and outcomes, efforts much be made to make the work visible through international press, participation in international design fairs and social media. The more exposure the notion 'Kurdish design' receives, the more appreciated it will be locally, regionally and globally. This will concretize a new cultural identity for the region that is contrary to the negative issues that govern media about Kurdistan today.

Moreover, this will change the mindsets of Kurds about buying local products, since their value would be uplifted and reconnected with inspiring, trendy, and culturally relevant consumer products. The developed collections from the participants of the program, should be under a brand name that is recognizable in stores, the bazaar, museums, heritage spaces, and the airport. Eventually, exhibitions of Kurdish design under this brand can be seen in design weeks and design fairs worldwide, inspiring more young designers to contribute the Kurdish creative economy and creating more demand for Kurdish design.

By further developing the details of the proposed programs above, a successful and holistic strategy would be put into place that can guarantee the development of a long-lasting and self-sustaining design sector in KRI.

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ABOUT THE AUTHOR Doreen Toutikian Founding Director & President of the Board MENA Design Research Center & Beirut Design Week Doreen Toutikian is an interdisciplinary designer, researcher and a social entrepreneur. She holds a Master degree from Koeln International School of Design in European Design Studies (Germany) and a bachelor in Communication Design from Notre Dame University (Lebanon). Her book, 'Design Education in the Middle East', the result of a 3 year master degree, was awarded the Cologne Design Prize in 2010.

Her professional experience involves a range of projects that deal with design research, strategic planning, service design, branding, and user experience.

In 2008/9 she spent a year in the product & service design department of the Glasgow School of Art working on projects with Skills Development Scotland, Careers Scotland, and HooverCandy.

In 2010, she returned to Beirut to pursue her career in building a collective design community and enhancing the understanding of design and research in the region. She became head of Research & Development for Cleartag & TAGbrands- branding and digital solutions companies- working for a range of clients throughout the Middle East, while founding and directing the MENA Design Research Center.

She believes that the key to all successful design is collaboration. This belief has inspired her to initiate various projects in order to encourage multidisciplinary teamwork for social innovation. Such projects include ‘Public Design Intervention: Beirut’ (2010), 'Desmeem: Rethinking Design though CrossCultural Collaboration (2012)', 'Disrupt!/Design!' (2015/ 16) and 'Beirut Design Week' (2012- ). In 2013, Beirut Design Week was awarded the Lebanese Social Links Economic Award.

MENA Design Research Center http://menadrc.org Beirut Design Week http://beirutdesignweek.org Growing Sustainably http://vimeo.com/201886416 Desmeem: Cross-Cultural Collaboration http://desmeem.org Is Design a Need? http://goo.gl/wejwHu Disrupt! Design! Social Enterprise! http://goo.gl/n8aT7F Design Education in the Middle East http://goo.gl/qorJxh

Doreen is currently Founding Director and President of the Board of the MENA Design Research Center and of Beirut Design Week. She is also an educator on design research methods in various Lebanese universities, a member of the pedagogical committee of the Academie Libanaise des Beaux Arts, a mentor and juror for student examinations and start-up competitions, and a regular public speaker at various conferences around the world.

She is also member of the International Gender Design Network, member of the International Advisory Board of 'Board of International Research in Design/ BIRD', fellow in the Salzburg Global Seminar, and member of the Young Cultural Innovators of the British Council.

Doreen is an avid traveller, speaks five languages (English, Arabic, French, German, and Armenian), and lives in between Beirut & Athens.

Contact doreen@menadrc.org Beirut: +961 71 895 714 Athens: +30 699 562 4597 @doreentoutikian Report: Design in Kurdistan Doreen Toutikian

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