The Architect and the Muse: Feryal Bulut on Film, Lace and Building Her Own World
This editorial series is a modern tribute to 90s high-fashion minimalism. The visual narrative focuses on structural symmetry, architectural hairstyling, and a flawless wet-look aesthetic. A key creative decision was substituting traditional wardrobe with strategic studio lighting, mirror reflections, and set pieces to create a sculpted, seamless silhouette that forces the focus entirely onto the face and form. As a multi-disciplinary creator, I personally executed every aspect of this project—from creative direction, makeup, and styling to photography and modeling—ensuring an uncompromised and cohesive aesthetic vision.
Structural Symmetry is one of the twenty editorials in MALVIE MAIN ISSUE 72, the 190-page, perfect-bound November 2026 main issue of MALVIE Magazine.
Order MALVIE MAIN ISSUE 72 in print:
Feryal Bulut: the interview
At 18, you travelled to India to take part in a Guinness World Record project. What did that experience teach you about yourself, and how did it shape the courage you now bring to your work as an independent model?
Back in high school, when I was in the 11th grade, I kept a manifestation journal. I remember writing: "I want to do something so massive that people won't believe it at first, something that will make global headlines." As an 18-year-old girl who had just graduated from high school, traveling to India to take part in a Guinness World Record-breaking project exceeding 19,000 feet was exactly that dream coming to life. In this project, which was centered around the G20 summit with one model representing each nation, I was the sole representative of Turkey and the youngest person in the entire team. I even brought soil from my country for the foundation of a statue symbolizing the "One Family, One Earth" belief. Being the youngest wasn’t a disadvantage; it was an incredible privilege. The work ethic and discipline I gained at that age form the foundation of every step I take today, whether in cinema or modeling.
That experience taught me, above all, how to push my limits and embody pure courage. Our ascent took a week, and I battled severe headaches throughout the journey. Halfway up, our doctor told me, "If you keep going up, you could die. You might have a blood clot in your brain. You are not coming with us." I was terrified, but I also knew I was on the verge of making history. I rested, meditated, and eventually acted as if I was completely fine, taking full responsibility for myself to continue the journey. We reached the summit. The night before the show, the locals performed traditional dances for us, and the next day, we successfully completed that magnificent runway show.
However, after the show and the interviews, while standing dangerously close to a cliff edge, I fainted from the lack of oxygen. I opened my eyes in an ambulance; I will never forget the female soldier who carried me, or the momentary shock and crying fit I experienced. Surviving on that mountain, under those extreme conditions, gave me a profound realization: I now have the courage to survive on my own anywhere in the world, even on its most remote island.
India also taught me to let go of prejudices. I extended my contract for another month, staying in India for a total of four months. This allowed me to travel and truly discover its rich culture after such an intense working period. Following the record, our team was invited to the 2nd edition of the Himalayan Film Festival. In the Ladakh region, we met prominent figures like Narendra Modi and went on local tours.
The shawls draped around our necks and a handcrafted wooden jewelry box made from a tree unique to that region remain priceless memories for me. Looking back at the shock on my family's and friends' faces when they saw the photos, or the support videos we shot for an Indian football team... I still get emotional realizing the immense vision I gained at such a young age.
From the outside, I might look incredibly brave and lucky, but my greatest luck and the true source of my courage is my family. Sending an 18-year-old girl to the other side of the world for such a grueling adventure was their true bravery. Thanks to their unwavering trust, I can now fearlessly articulate and defend my ideas as an independent model.
I never see myself as "100% complete"; even if I live to be 100, I will keep learning. Just like my recent journey with kickboxing—despite my sports background, I couldn't do a single push-up. Achieving it after two months of sheer determination reminded me that there is no limit to growth. What gives us our life energy is the relentless effort we put into our dreams.
As for that breathtaking, exhausting, dangerous, yet unparalleled adventure in India, I can only say one thing: If I could, I would do it all over again.
Your studies in Radio, Television and Cinema clearly carry into your shoots. How does thinking like a filmmaker change the way you build an editorial, from the first idea to the final frame?
When constructing an editorial shoot, my goal isn't just to capture an aesthetically pleasing image, but to build the story behind that frame, the psychology of the character, and the soul of the space through the eyes of a director. Thinking like a filmmaker gives me the ability to fit an entire narrative—a past and a future—into a single still frame. From the initial idea to the final shot, I design every detail as a piece of this overarching story.
However, I must point out that studying Radio, Television, and Cinema isn't just about learning how to use a camera or how to edit. We are simultaneously building a sociological and cultural foundation. This discipline has taught me not only the technical aspects of the craft but also how to read people, society, and cultural codes. That is why my favorite classes have always been theoretical ones like 'Popular Culture' and 'History of Civilization,' where we delve into the deep philosophy of humanity. Whenever I start an editorial project, I always draw heavily from these cultural codes and sociological analyses.
Of course, simply sitting in a lecture hall and absorbing theory is never enough. You must have an insatiable hunger to dive into the practical side of the craft, to constantly improve yourself, take risks, and create. At this point, I want to express my deepest gratitude to my esteemed professors who believed in me, broadened my horizons, and played a massive role in helping me gain this expansive vision. Thanks to their guidance, I found the courage to turn theory into practice.
For instance, apart from art direction, one of the practical works I enjoy the most is producing a podcast from start to finish. Weaving every single stage together entirely on my own—from the birth of the idea and scriptwriting to the audio recording and editing—and experiencing that holistic feeling of bringing a narrative to life from scratch gives me an incredible sense of fulfillment as a filmmaker.
You are both the muse and the architect of your work, handling art direction, writing and voiceovers, and now building your own studio at home. How do you move between being in front of the camera and directing everything behind it?
Navigating this transition has never been a struggle for me, as I believe certain talents and inclinations are innate. For me, both building the world behind the camera and living within it in front of the lens happen in an incredibly natural flow. In fact, this reflex dates back to my childhood, even to my elementary school years.
I vividly remember the first time I experienced this: I was in elementary school, and my father had bought me a black laptop. I would play a song on it, choose outfits that matched the theme and soul of the track, and do my own hair and makeup. Then, I would hit record on the laptop's webcam, choreographing and dancing perfectly in sync with the lyrics and rhythm. So, even at that age, I was already both the art director and the leading star of my own little projects.
When it comes to makeup—the aesthetic and visual creation side of things—I have been confident for as long as I can remember. Even back in kindergarten, my friends would gather at our house just so I could do their makeup. I was introduced to colors, brushes, and the idea of using the face as a canvas before I even started school.
I am 21 years old now, and I can easily say I have spent nearly 17 or 18 years of my life deeply intertwined with makeup artistry and aesthetics. (By the way, despite all those years of makeup, the fact that my skin is still so fresh and healthy is an incredible stroke of luck and a source of pride for me—knock on wood!)
So, how do I professionally navigate that transition between "architect" and "muse" today? Essentially, I am taking the vision of that little girl from elementary school to a cinematographic level. It is not about being two separate people; it is a complementary process. I always start with my "architect" identity; I write the script and build the concept, the lighting, the color palette, the studio setup, and my makeup down to the finest detail through the eyes of a director.
Once this world I’ve created is flawlessly prepared, the architect steps back, and the "muse" steps into that world. Even though a part of my mind is still managing the composition and lighting while I am in front of the camera, my body completely surrenders to the emotion of the moment. Rather than a transition, I would call it a perfectly harmonious dance of the creative forces within me.
Antique books, aviation, objects from your travels and life with your five dogs all feed your vision. Can you share one of these inspirations and show us how it found its way into a specific image?
I love antique books because they carry a profound sense of "lived experience"; feeling the traces of the past and the silent stories between their pages deeply inspires me. As for aviation, I have loved traveling by plane for as long as I can remember. Being above the clouds, thousands of feet above the earth, always plunges me into my deepest, most boundless dreams.
When it comes to the objects I collect from my travels, I never buy them on just any ordinary day; I make sure to pick them out when I am feeling at my absolute happiest, most excited, and most peaceful. My goal is to relive that pure joy and those beautiful feelings every time I look at them in my future home.
However, what feeds my vision, my soul, and my presence in front of the camera the most is my bond with my dogs, especially my first dog, Safir. Safir is 6 years old now, a massive Kangal and Karabaş mix who is exactly my height. He is my greatest protector. I used to find it hard to believe stories of people crying together with their dogs, until I had to say goodbye to Safir before leaving for India.
That day, I was so emotional and cried because I would be away from him for so long. Even without knowing the reason, Safir cried right there with me. There is such a deep, indescribable spiritual bond between us that I always feel his presence, even when he isn't by my side.
I personally take care of his daily grooming, cleaning his ears and paws. He absolutely loves head massages; when he wants one, he comes and rubs his giant head against my leg. He’ll even take my hand with his mouth and place it under his head. Despite being much heavier than me, he still thinks he’s a tiny baby; when he throws his two paws on my shoulders, stands up, and hugs me, it is the purest feeling in the world. I hope we share a long, healthy, and happy life together.
So, how does this inspiration find its way into a specific frame? The "flawless yet soulful" aesthetic in my editorial vision actually feeds off the incredibly fragile and loving soul hidden beneath Safir's massive, powerful, and wild exterior. When I am in front of the camera, especially in shoots where I wear sharp, masculine, and avant-garde pieces, the deep, melancholic, and strong expression I wear on my face is drawn directly from the intense emotion of that silent goodbye I shared with Safir before India.
In fact, I am sharing a very special photo of Safir and me for this interview. What you will see in that frame is not just a model and her dog; it is the visualized editorial form of "power and compassion," of the "wild and the elegant," in its purest, most unfiltered state.
Your new concept brings traditional cultural lace motifs into bold high fashion. What does lace mean to you, and how do you keep its history alive while giving it a new form?
For me, lace is the most elegant expression of femininity, mystery, and sensuality. I find its bold and 'sexy' nature—its translucent texture that simultaneously conceals and reveals the skin—absolutely fascinating. However, lace is not just an aesthetic material to me; it is also a profound symbol of Turkish culture, our roots, and our traditions. It is a precious handcraft passed down from generation to generation in our homes and our dowries.
My goal is to take this nostalgic and cultural texture and break the mold by transforming it into an avant-garde, bold, and sexy high-fashion silhouette. I am blending the innocence of the past with the daring power of the present.
I am still meticulously working on the scenario and art direction for my new concept shoot. I want to create something that isn't just beautiful, but truly 'powerful' and iconic. That is why I am not rushing the process; ensuring that every single frame, every lighting choice, and the overall styling feels completely right to me is my most important rule.
I would like to keep exactly how I am giving lace a brand-new, bold form while keeping its history alive a little 'surprise' for now. But I can tell you this much: when it is finished, it will be a visual world that leaves a lasting mark on the viewer's memory.
With the Safirzera website launching and runways like Paris Fashion Week in your sights, what kind of creative world do you want Safirzera to become in the next few years?
Safirzera's digital journey actually began in the past with a trial website (safirzera.com) where I published world news in English and Turkish. I developed my news writing skills so much during this process that it was the very reason the news copy I wrote during my internship at a television channel was so highly praised. Now, I am transforming this platform from just a news site into a comprehensive digital gallery where I will showcase my editorial vision, my art direction projects, and the visual worlds I construct.
Although I cannot dedicate all my time to it right now due to the intensity of my university graduation projects, I aim to fully launch the site within a few months as I graduate this year. My biggest goal for the new face of Safirzera is for the audience not just to see a photograph when they look at the screen, but to deeply feel the texture, the sensation, and the emotion of the visual, almost as if they are living inside that frame.
Walking on massive global runways like Paris Fashion Week is one of the ultimate peaks of my vision. I have watched the things I wrote in my manifestation journal in high school turn into reality one by one; my adventure in the Guinness World Record-breaking project in India, and now giving this interview to MALVIE—a magazine I have always followed with great admiration—are the most beautiful proofs of this.
I believe with all my heart that Paris Fashion Week will be my next reality. Even though I am currently an independent model building my career on my own, I am now fully ready to connect with visionary agencies and casting directors who believe in my power, who will guide me toward my PFW goals, and who will walk this path with me to take this vision to global runways. In a way, this interview is an exciting call out to the right names in the global fashion industry.
I want to express my endless gratitude to you and the entire MALVIE team for this unique interview invitation, which has excited me so much and allowed me to express my art and my inner world so freely.
Structural Symmetry credits
Creative Director, Photographer, Model, Wardrobe Stylist, Makeup Artist, Hair Stylist and Retoucher: Feryal Bulut @safirzera
Comments