Usak

Uşak exists because Lydian kings needed carpets and because Lydian tombs contained gold. The carpet connection proved more durable: by the 15th century, Uşak had become the Ottoman Empire's most renowned weaving center, producing rugs depicted in European Renaissance paintings by Holbein and Lotto (earlier Turkish carpets are still called "Holbein" and "Lotto" carpets after these artists). Star Uşak and Medallion Uşak patterns influenced court and mosque decoration across the empire before European competition and synthetic fibers ended the trade.

The gold proved more volatile. The Lydian Hoard—6th century BC artifacts from royal tombs near Güre village—was looted in the late 1960s and sold to the Metropolitan Museum of Art for $1.5 million. The Met admitted staff "had every reason to know" the items were stolen; Turkey won return in 1993. Then in 2006, the golden hippocampus brooch was discovered replaced with a fake at the Uşak Museum. Director Kazım Akbıyıkoğlu had sold treasures to pay gambling debts; he received 13 years in prison. The scandal illustrated how heritage value can attract both preservation and predation.

Modern Uşak processes textiles and leather in organized industrial zones—descendant industries of the carpet tradition without its artisanal character. The Ankara-İzmir high-speed rail under construction will improve logistics connectivity. But the skilled carpet weavers have largely disappeared; the patterns survive in museums rather than workshops.

By 2026, Uşak's challenge is whether heritage can generate economic value without the human capital to produce it. Revival efforts target luxury markets; the question is whether customers will pay premium prices for a tradition whose masters are gone.