Creating a Universe from a Sewing Machine: Eda Yorulmazoglu

Imagine a universe where you can go beyond simply being yourself. A world where you stretch the boundaries of your body, dance with extra limbs, and wear the imagination you once tucked away in childhood. That’s exactly where we are — in Eda Yorulmazoglu’s studio. This journey, which began in Chicago, has now transformed into the rhythm of a creator who has found her pace in Muğla, surrounded by nature and silence. For Eda, a costume is not just a piece of clothing; it’s the tangible form of an emotion, a memory, or a moment of laughter. Through her approach to wearable art, she creates space not only for herself but also for others. Sometimes a dream, sometimes a sound, or a long-buried childhood feeling takes shape — turning into fabric, feathers, and volume. Now, you’re stepping into this creature-filled universe and exploring Eda’s inner archive with us.

If you were to describe yourself to someone who has never met you... How would your sentence start with "I am Eda and..." and continue?

I am Eda, an avid creator of imaginative worlds inhabited by creatures that roam and scurry. YEEEHOOOO!!!

What have you studied, where have you been, and when did this creative journey begin? Could you tell us a little about your early flirtations with art and design?

I started taking sewing lessons during the summer. It was funny because my mom's friends would all upset with my mom, saying she was forcing me to have lessons instead of playing outside, but it was all my choice. I never regretted it. Later, I studied at the SAIC. 

How did clothing tailoring start to transform into an art form for you?

I’ve always been into making clothes, but regular clothes never really caught my eye. There’s already so much out there; we don’t need any more. But I was more drawn to creating unique, sculptural pieces. I started doing that around high school. I guess I realized that I enjoyed it more than just making simple clothes. But it’s still important to learn the art of tailoring and understand basic and advanced sewing.

Your works feature very strong "creature" images. What do these figures represent in your world?

These are the kind of models that inspire me. When fashion designers create clothes and put them on small models, the audience always compares themselves to these unrealistic beauty standards. That’s why I decided to have more fun with my models. I tend to gravitate towards people who have the inner creature energy. For some, it's a very vulnerable thing to show, but when people put on my garments it tends to come out naturally. When the audience sees my work, they don’t focus on the body types of the models, but instead on the feeling of the person and the visuals of the garment. They can feel the wearer’s energy as they twirl around with extra limbs and pedals twirling around.

Dreams, childhood memories, and personal experiences play an important role in your designs. How does this creative relationship with your memory work? 

I didn’t know I had a special childlike side until I started creating. As a kid, I had a wild imagination, but I kept it to myself. I was more focused on school, life, and dealing with anxiety so young, so I never fully explored my creativity. I started by drawing and painting, and it wasn’t until my junior year of college that I found myself and learned to let go. I realized that I want to make the things that make me happy, not the things I thought I had to make.

When designing your costumes, do you first think of the form, or the emotion you want to convey? How does your process begin?

The process can always change. Sometimes it starts with a dream, and the shapes and sounds I see gradually come together throughout the day. Other times, something funny or traumatic happens, and I like to design to remember or work through it. I remember going to yoga once, and the sound that played formed into a creature in my mind. I couldn’t stop laughing in class, but it became one of my favorite ones.

For someone like you, who thinks in a multidisciplinary way, is there a clear line between fashion and art? If so, where are you on that line?

I don’t think there’s a strict definition. I believe it’s all subjective. For me, when I see high-end brands, it sometimes becomes challenging for me to view them as art. Sure, they might want you to feel something, but ultimately, it’s for the money and often has a stale inspiration behind it. That’s not even coming from the artists themselves. I consider art as the inner workings of an artist, their intelligence, emotions, and experiences. The art at the artist’s core is their therapy. Of course, the goal is to sell them. Unfortunately, we live in a world where that’s the only option. But you still know when you're looking at Art, you're seeing the real person beneath it. They're showing you something that they might not usually show throughout daily life, and I think that's special.

What does the concept of wearable art mean to you? Why do you think it is important for a piece to create not only an aesthetic but also an emotional experience?

Wearable art can mean different things to different people. For me, it’s a piece that brings out something hidden in the person wearing it. I’ve had people wear my clothes and cry to me after saying they missed feeling like a kid again or rediscovered something within themselves. I’ve had people put on my costumes and completely change while they’re wearing them. One friend of mine, who’s usually pretty calm and content, put on a creature costume and couldn’t stop running around. There were a lot of people around, and I kept telling them we could take it off whenever they were ready, but they were having so much fun that they couldn’t stop. I’ve never seen them like that before - they were so giggly and silly, it was a beautiful thing to watch. For me, this is wearable art and maybe also wearable therapy. Sometimes we need to feel like kids again.

You often challenge the concept of beauty in your designs. How do you feel a sense of freedom when defying traditional aesthetic standards? 

It’s heartbreaking to see such a powerful industry impose such a rigid and uninspiring idea of beauty. There are so many beautiful people and creatures in the world that are often overlooked. With my work, I want to meet these people, give them a chance to shine, and celebrate their uniqueness. The people I’ve met along the way have changed my life and broadened my perspective. I feel like we’ve created a beautiful world together. And I’ll always cherish those moments and use my creative power to keep going.  

What was it like to see your design on RuPaul's Drag Race runway? How did this visibility affect your motivation to create?

When designing for RuPaul's Drag Race, you only get a small description of the challenge. You discuss a look with your client, then create it, send it, and don't see it again for another year. I almost always forget that I even made anything until it comes out. It's almost as if it gets reborn, and it's amazing to see it on stage with lights with the full look on. It can be kind of scary because you don't know how the judges will perceive it, but so far I've been good with it. I just love seeing my looks on the stage.

You mention using your art as a therapeutic tool. Which emotions do you experience the most during this creative process?

I can feel any emotion while I am creating. The emotion itself can affect the design.

If someone going through a dark period told you, "I want to create something, but I can't," what would you say to them?

I suggest they try something completely different from their usual routine. Just because our most reliable process usually works, there will be times when it doesn’t, and that’s fine. Stepping outside your comfort zone can be incredibly inspiring and teach you valuable lessons about yourself. This could involve trying different mediums, going for a walk, listening to music, or simply sitting in the park without any distractions. I remember going through a tough time and treating myself to a massage. The soothing meditation sounds sparked new ideas. I also tried ceramics for the first time, and it led to a whole new collection of artwork. You never know where inspiration might strike!

You use different disciplines (sculpture, textiles, video). How does this fluid approach provide freedom of expression in your production?

The process of making a garment and bringing it to life is truly magical. It’s like a journey from a simple drawing to a flat pattern, a sample, and finally, a vibrant and textured masterpiece. Then, you watch as your creation comes to life on a person during a performance or video, and it starts to develop its unique personality. It’s an incredible experience! 

If you were to be more than just a costume designer and become a character yourself, in which film would you like to live?

Teletubbies! As a kid, it used to give me the creeps, but now I’m totally into its unique style and world. The colors and shapes are so appealing, and it’s amazing how it’s technically made for kids, but even as an adult, it’s still super fun to watch.

Would a lit drag runway or a studio where creatures are sewn for days without sleep make you feel more "at home”?

My studio is my sanctuary, my home away from home. It’s where everything begins, and it’s the safest place I know. I can be my true self there, and I create things that fill me with so much joy.

What excites you the most today? Is there something new you are discovering in your production?

I just moved to Mugla, and it's very different for me to live somewhere that's not a big city. I’m surrounded by water and nature, which has always been a dream of mine. For someone who grew up in America and lived there for 26 years, I never would have imagined this for my life. I am excited to see what I create in this environment.