Lana Albeik: Writing Her Own Liberation Story

For Lana Albeik, the runway and the close-up are just different camera angles. Based in the UAE, She treats fashion and film less like separate worlds, and more like two sides of the same mirror. Either way, the Palestinian-Syrian model and actress has been orbiting the region’s creative scene since her teen years. 

“I found modelling to be an outlet to tell stories of my origins, to express myself through the many characters I can embody,” she says. Albeik’s career began with Hindash Cosmetics and a Fenty x Puma campaign, the kind of debut that signals a star in motion. Nowadays, from Burberry and Calvin Klein to Coach and Roger Vivier, her image has travelled far beyond the region.

The model and actress is acutely aware of the politics of being visible, especially as a Palestinian woman in the media. “When I began my career, I hadn’t realised that being loud about Palestine in a world that wanted to silence us was an act of resistance.” There’s no grand speech in her words, just the conviction of someone who understands the impact of presence and community. “I’m always pleasantly surprised when Palestinians and allies of the Palestinian cause reach out with warmth,” she beams. 

Legendary singer Fairuz is an eternal reference point. “Her stage presence, her control, her grace—it connects me to my parents, my grandparents, and gives me excitement about a future that I’ve always dreamt about,” she reflects. But where Fairuz sang of love and longing, Albeik gives it a face for a new generation.

Her rise to fame through Netflix’s AlRawabi School for Girls marked a turning point. “For the first time, I could go home after set and feel like I was able to invest my time into any talent I wanted to dive into,” she recalls. Between modelling shoots, vocal lessons, and a slowly crystallising creative vision of acting, music, and writing, that phase became a space to experiment. “I want to put all these outlets together to tell more of my story. Finding the exact occupation of a role isn’t the goal, but the journey is what I am eager for.” 

Before she writes or plans a shoot, Albeik feels it—that pull in her chest, that “nagging feeling” to speak. “It’s like seeing a friend for the first time in a while and wanting to tell them everything at once,” she laughs. “That’s how I feel before I write or plan a shoot.”

Her tone is casual, but her words about SWANA creatives land like declarations. “My deep hope for us is to take ownership of the centre of our own lives, for America and Europe to become the ‘outskirts’ of our creative expression, as Ousmane Sembene said. It’s both a wish and a warning; the centre of gravity is shifting, and it’s ours for the taking. The end of this soft power over us is hopefully near.”

Assertive in her choice of words, she adds: “As long as Palestinians, Syrians, Sudanese, and Congolese people are not able to speak freely of the injustice they fight, there is no way for me to ultimately achieve my practice.” Still, hope makes an appearance as she speaks. “I want us to be able to tell our stories without the context of war or colonisation. One day, inshallah.” Right now, she’s taking her time—whether she’s writing, learning, or experimenting. “Someday, I’d like to not be expected to tone myself down in order to be allowed to tell my story,” she continues. Albeik isn’t waiting for permission to take up space. She’s already there.