In the world of bridal couture, few ateliers hold a narrative as layered—and as quietly powerful—as Cagteks Bridal. From a family atelier in Istanbul—where the air carries centuries of culture—Cagteks has grown into one of Turkey’s most storied couture houses, known for its meticulous craftsmanship and poetic sensibility. Guided by the rhythms of nature, the discipline of detail, and the enduring allure of historic romance, Creative Director Özge Kanli designs not simply with aesthetics in mind, but with reverence. In this interview, she invites us into her world—where every gown is a dialogue between past and present, and every stitch is a step deeper into story.
Where do you find inspiration, and how do those influences manifest in your creative work?
Being from Istanbul, I’ve always lived surrounded by history—it’s inescapable here. The culture, politics, and daily life always made me reflect on the historical context. When I create, there’s always this urge to question history—it's in my genes. For example, I traveled to Scotland earlier this year and was so impressed by the landscapes and the oral histories that intertwine with nature. That led me to explore the story of Roman de la Rose for our current collection, a chivalric tale that inspired me to dive deeper into a sort of medieval love story. Everything in my work is interconnected—history, materials, design, the environment, and nature.
The ocean has also been a recuring motif throughout your collections. Tell us more about this connection and how it's influenced your designs.
When I was young, we’d often go sailing by the seaside. When you're working with the wind and the water—even if you're with a team—you still feel very much alone. It's such a powerful, divine force. But if you don't know how to read the wind and balance with it, it can knock you down. The sea taught me to be strong, to stand alone, and to be ready for challenges—whether it's a problem or an idea that overwhelms me. You have to face it, understand it, and adapt. It's something sacred but can feel like a curse if you don’t respect it. It’s taught me a lot.
When creating the Roman de la Rose collection, I had just returned from a sailing holiday in Croatia and was still immersed in that ocean energy. At our atelier, we have an embroidery workshop with all these unique fabrics. I found one and knew I wanted to play with its texture. I combined those three elements: the sea, the fabric, and texture. In 10 minutes, the dress came together. Of course, it had months of thoughts behind it, but the moment of creation was fast and powerful.
Your work balances innovation and tradition, walk us through your process in designing and creating a gown?
Each dress tells its own story. I listen to what the dress needs. If the materials exist in my atelier, I reuse and reshape them. If not, I begin a long process of research—online, walking, swimming, reading—to find or create what the dress requires. In our embroidery atelier, I share the story, the emotion, or the abstract shape I want, and our team draws it. Then we use software to convert those drawings into embroidery files. We create samples, and once I see them in fabric, I figure out how to apply them to a dress. It can take days or months. But the combination of tech, craft, and our incredible team always brings the piece to life.
How do you balance your vision with a bride's vision?
If the bride doesn't yet know what she truly wants, it becomes an adventure of discovery we go on together. I ask a lot of questions: How did she meet her partner? What’s unique about their relationship? Where’s the wedding? What’s the atmosphere? Do they feel rooted in a culture? From those questions, I start to understand their concept, and I begin to create for them. It’s a reciprocal process, and though it seems intense at first, it becomes clear what the bride should wear. It works every time.
What is one of your favorite gowns in the collection, and the story behind it?
The Elowen gown in the Roman de la Rose collection is a puffy taffeta gown with a low-cut corsetry top. On the surface, it looks baroque, however undearneath it all it’s truly modern in construction. I researched Victorian corsetry intensively last year—locking myself in the library of the London College of Fashion. I couldn’t use synthetic materials like polyamide—it didn’t feel right. So I walked around Istanbul’s Grand Bazaar and found antique fabrics: silky taffetas and 100% cotton laces. I found a creamy lace with a cool undertone and knew it was perfect. I bought it, worked with our tailoring team, and created something really special. It was a fight to get there, but a beautiful one—just like life.
What’s one piece of advice you have for brides?
Be yourself. It can be scary because you’ll face your dark sides. Special events bring those parts of ourselves to the surface. But you are stronger than your fears. If there’s a silhouette or a dress you’ve always imagined yourself in—run towards it. Fight for it. It’s worth everything. If you connect with a brand—ours or any other—don’t hesitate. Reach out, talk, call, video chat. The end result will be something truly unique and powerful.
Talent: Özge Kanli of Cagteks Bridal
Videography: Anastasia Kurys
Creative Direction: Daria Latysheva
