IVRUNE

It started as an attempt to anticipate the graphic design of 2027. I went through the most unusual work made in 2026 and kept seeing the same thing: a process was deciding the form. In some it was biological growth, in some a gesture of the hand, in others light. I drew three style studies from that. The one I followed was ink spreading through paper fibres, leaving the trace of its path around the letter.

I wanted to carry that trace onto an object, and my first attempt was a running shoe: a shoe whose form is built by ink scattered across paper. Putting it on a poster, I spread the headline like ink too and called it MAKE WAVES. Then I grew the language into a five-piece collection: a windbreaker, a tee, shorts and a bag joined the shoe.

When I put the five side by side, something was wrong. They all carried the same ink pattern, the same colours, the same poster layout. I had wanted harmony, but I had loaded one system onto every product unchanged; I was looking at five copies of one idea. So I gave each piece its own trace. On the shoe the pigment thins and spreads in layers, on the windbreaker the trace becomes panels that let light through, on the tee it comes down to a single brushstroke, and on the bag it rises as quilting.

I liked the result enough to turn it into a portfolio project. At first I thought of framing it as a campaign for a known sportswear brand, but building my own brand made more sense. A clothing label already traded as MAKE WAVES, so the name stayed with the collection, and the brand became IVRUNE, from the Turkish word for momentum, ivme, and "run".

The brand needed a signature, and finding it took longer than I expected. The first symbol, two parallel bands flowing upward, came out too close to Fabletics’ mark. What followed was too ordinary; the logo had to rest on an idea. I found it where I had started: wherever you walk, a little of you rubs off, yet no two steps leave the same trace. I drew the IVRUNE letters with the uneven pressure of that trace; some joints thicken, others squeeze and narrow. The emblem became the shortest form of the same movement: the mark left when wet ink is pressed from a single point.

I placed the signature not on the large surfaces of the products but on their small details: the zip puller, the tongue of the shoe, woven labels. Now, side by side, each piece carries a different trace on a different surface, and all of them carry the same signature.

In the logo film every movement comes from a single event: the stamp presses, the ink spreads. In the manifesto film a run is drawn onto paper as a route.