Sissy Misfit’s sound is rooted in moments that have left a lasting impact on her. From Nine Inch Nails to Lady Gaga’s infamous VMA performance, she draws on memories that hit with force, blending industrial noise with a pop sensibility and cinematic influences. This approach feels less deliberate and more instinctual, an organic fusion of what shaped her. It’s a recognition of the dark, the macabre, and the uncanny, all elements she effortlessly channels into her performances. For Sissy, it’s not about trying to blend or curate these influences—it’s simply about following her own artistic impulses.

How do you bring together such diverse influences, like industrial music, pop culture, and cyberpunk films, in your sound?

These are some of the main forces that have stayed in my life when it comes to art. I just can’t forget the day when I first heard ‘Sin’ by Nine Inch Nails or when I first watched 964 Pinocchio or seeing Lady Gaga hanging herself at the VMAs dripping in blood singing Paparazzi. These moments punched me in my stomach and they all have this common ground of being celebrations of the dark and the macabre, the uncanny you may think. So I guess in what I do I honour that as well. I grew up emerging myself in these things so its inevitable for me to bring them all together in a work of art or in the way I perform and move. I don’t try to do it, I just do what I want and the art comes out like this.

You’ve described yourself as having an “exoskeleton.” How does that idea reflect your identity and artistry?

Yes, I would like to think of myself as a being that possesses an exoskeleton. It wasn’t my choice I just really had to dedicate 25 years of my life trying to figure out what it means to be a trans girl in the Middle East. I feel like I’ve built a new set of bones around my body in a sense. Something that would protect me but also enhance the way I want to look. Running far away from myself to feel closer to the woman I am inside. Does it make sense? Ironically enough I think releasing my album EXXXOSKELETON was the first step of stepping out of this ‘armour’ and now I am ready to show the world another side of me I think they will be interested to see.

What inspired you to start the ‘CEHENNEM’ events, and what impact do you hope they have on the trans+ music community?

CEHENNEM started by me with a help of some of my friends in a small but important bar called Şahika in Istanbul. I always threw parties in different concepts and under names while I was living in Turkey. I didn’t think I would need to do that in London to be honest because I thought this platform would have already existing here but it wasn’t. I wanted to open up a space for trans people who produce and also perform their songs. It is not as rare as it sounds. I have had the privilege to host over a 100 artists from all over the world in just 2 years. I just love watching a doll put on a glitter beat and sing over the noisiest electro track you could ever hear in 10 inch platforms. My hope is that there will be more night like CEHENNEM in every city! More live music at the club! More trans producers at the club!

How do you blend aggressive sounds with pop elements in your music?

I don’t know how to answer this question because in my head I’m not trying to blend a different world of music into another one when I produce. I guess my song structures are too pop to be considered experimental? Or maybe it is the lyrical context? I am definitely a pop star but I’m not sure If the music I make is pop music? But at the end of the day everything is pop music. Anyways I’m going off topic. These are the literal sounds I produce when I try to make a beat and when I try to sing it turns to screaming all of a sudden. I think it's all very instinctual.

How did your collaboration with Rick Owens come about, and what was it like working with him?

It was definitely shocking. You wake up one day and get a personal message from thee Rick Owens telling you he is into your music and would like to work with you? I didn’t believe it was real until I went into the shooting with him to be honest. I was on my way to Paris to meet him and do the campaign together for Dr. Martens but I was thinking to myself on the way to the studio ‘yep I’m getting my kidneys stolen today’. Then I’m just there getting glammed up and someone walks in with the sweetest attitude saying ‘Hi Sissy, hope the journey was fine, I’m Rick’. Working with him was great. I think the way he supports young artists is really special, he is a very smart artist and generous person. I’m grateful for our moment together.

How has your personal transition influenced the creation of EXXXOSKELETON? 

I feel like all my life built up to this moment for me to make this album. I am not a newbie, I’m a professional performer and producer who have been doing this for a decade now. I started performing and DJing in clubs as early as when I was 17 or 18. But I would only be able to do an album like EXXXOSKELETON today. In this mindset with this new found love for who I am because it wasn’t there for the most part of my life. HRT saved my life, period. I feel belong to my soul and belong to my body for the first time ever in my life. And a lot of these songs are about medically and emotionally transitioning in a way, this sound is about breaking the barrier I had in me against me.

How have your experiences in Istanbul’s underground scene and life in London shaped your music?

Istanbul made me the fiery performer who will never take no as an answer. Istanbul made me the woman I am today, almost all of my influences come from my life in Istanbul. London just thought me how to refine myself and define my art better in terms of expression and execution. London definitely gave me the push to take my ideas to the next level because of how much freedom I was surrounded by all of a sudden. But Istanbul made me tough and passionate.