We all have seen these stunning silk scarves around Instagram. Playful colours, cartoonish drawings, lovely stories — all sealed in one petite 63x63 cm scarf. This was indeed a sensation that brought Coccellato, the modern brand for modern women, to the stage. 

While I was preparing for the interview with Iman Coccellato, the founder and couturier of the brand, that absolutely stole my heart, I learned he is not only a fresh blood in local fashion scene, but the talent coming from the mecca of European fashion — French Fashion Institute (IFM). Great talent met great skills. Well, we all can see this, looking at how detailed is his new collection, the Belle Étoile. 

Speaking with him, I could feel, Coccellato is much more than just wearable art pieces. Coccellato is about confidence. It is about liberty and emotion. In this interview, that you are about to read, look for the beautiful messages Iman sends us over via his sparkling garments. Be brave to be yourself and find your empowerment in being true to your emotions. 

I felt delighted, inspired, and strong, after my conversation with Iman. And this is exactly how I feel in his attire. So, I hope this interview will be as liberating for you as it is for me. 

— Can you tell us about the moment you decided to establish Studio Coccellato? What was the core motivation behind launching your own label in 2023?

— It started when I was very, very young, maybe five or six. I would always hide in my mom’s closet. I lost my father when I was very young, so I often found comfort there. 

— I am so sorry.

— We didn’t have much money, but hiding in my mom’s closet felt comforting. I remember watching her in front of the mirror, and she would be so happy. 

One day, I asked her, "Why do you have these beautiful pieces in your closet?" She told me, “For a woman, having beautiful pieces is important. This way, you can be the actress of your life.” 

That is when I realised that clothing can make a woman happy and feel powerful in her life. I started drawing and even took my mom’s skirts to wear at school.

— Your brand’s Instagram bio says, "a ready-to-wear canvas by one kid dreaming" — given, you are that ‘kid dreaming’, have you always wanted to become a fashion designer?

— I always wanted to show people that clothes could be magical. I would tell my friends, “These clothes can make you feel happy and make you who you want to be.” 

My mom, who was very supportive, would give me colouring pencils and let me draw on the walls of my bedroom. So, I was always surrounded by creativity and colours. 

I studied in my hometown, but I wanted to move to Paris. But, I didn’t realise how expensive fashion school was, though — it was impossible for me to afford. I thought, “How can I pay to learn what I want to do?”

— You ended up attending the French Fashion Institute (IFM), right?

— Yes, exactly. So, I always dreamed of going there. I put all my savings into going to Paris. 

And so I applied to the Parisian fashion school Studio Berçot, but it cost 11,000 euros per year. They told me to go to the bank and ask for a loan. But when I told my mom, she said, “I’m alone with three boys. I can’t help you.” So, I started working in London for a year to save money, but saving in London is impossible, as you know [laughs].

Eventually I returned to my hometown and entered a fashion competition. The winner was awarded a four-year scholarship to study in Paris, sponsored by Carla Bruni and Jean-Paul Gaultier. Before that, I manifested my dream of going to Paris. And so I won the competition and finally got a chance to study in Paris. And only after this one I went to IFM.  

— Wow, what an incredible story!

— Yes, manifestation works! [laughs] So, I moved to Paris to study at Atelier Chardon Savard, it was 100% focused on creativity, not technique. It was there that I learned the importance of upcycling and working with vintage garments. I learned how to deconstruct pieces and understand the "bones" of a garment. I was a lot of art and creativity. 

After that, I interned at Jean-Paul Gaultier’s atelier, which was amazing. 

— What was it like interning at Jean-Paul Gaultier?

— The energy in his maison was incredible. I remember feeling such generosity from the atelier. I learned a lot there. I remember, once I was asked to work on a dress, and I didn’t know where to start, as it was so complex. A woman named Zahra, who had worked for Galliano, taught me how to cut and understand different techniques. It was an incredible experience. After my internship I decided to apply to the French Fashion Institute (IFM).

— This all sounds like quite the journey. How did you end up getting into the IFM?

— I applied late in July, and the school starts in September, so I thought it was too late. But I went to the director and told him, “I know I have talent, but I need structure.” Because, when you are just talented, you are not organised and you are a mess. I needed to learn how to manage my creativity. 

Like my little apartment in Paris — it was such a mess. Fabric pieces and scissors everywhere. 

So I asked the director and he let me in on a scholarship. IFM was an incredible experience. We collaborated with brands like LVMH, Hermès, Lemaire, and Chanel. I learned a lot about artistic direction and the business side of fashion.

— After studying at IFM, what was your next step? 

— I interned at Lanvin, working as an assistant to the head of the studio and then I worked as assistant designer at Chloé. It was exciting but also challenging because, at some point, I realised I wasn’t creating anything new. And another issue was that I was willing to put in time to make everything perfect — from a pocket to a jacket. I could have spent weeks on designing a pocket and thus we didn’t always see eye to eye with the big fashion houses, as they are also about business. 

I wanted to push my creativity further, but many big houses focus on vintage and archives. Eventually, I worked for other brands in Paris and London but always knew I wanted to launch my own brand. Unfortunately, launching in Europe was financially difficult — it is so expensive, and I couldn’t reinvest in myself with the cost of living there, considering the salary you get in such roles in fashion.

— How did you finally take the leap and start your own brand? 

— I found a business partner, a group of women, but the collaboration didn’t work out. They had their business model, and my creativity didn’t fit with their vision. But I learned a lot from that experience. Eventually, I met my friend, Osama Chabbi, who encouraged me to launch my brand. So I decided to move to Dubai, which terrified me at first. But when I arrived, and I saw incredible, smart women — I felt like I had the space and support to create.

— What was it like building your brand in Dubai? 

— In Dubai, I connected with the idea of a canvas. A woman bought me a big canvas, and I started painting and creating. I became a freelancer, and with the money I earned, I reinvested in my brand. My first collections weren’t for sale — they were just for me to keep the creative energy flowing on Instagram. Over time, each collection gets deeper and more mature. Now, my last collection is very important to me. I am exploring themes like the circus, which I feel represent our generation and the world we live in today.

— What is your creative process like from the initial concept to the final garment? 

— I always start with an emotion, often writing a letter to the woman who inspires me. I might write to a character like Maria Callas or even my mom. From there, I begin sketching — hundreds of drawings. It is a process of refining. I work with my team, especially Osama, to decide which designs to move forward with. Then we create the first sample, often in a plain canvas fabric, and go through 10 to 20 fittings before finalising the design. Fabric sourcing comes next, and the process continues with final adjustments, styling, and photography. The journey is long but fulfilling.

— The website says Coccellato draws inspiration from your Sicilian and Tunisian backgrounds. How do these cultural influences blend to form the DNA of your brand?

— It is about freedom and generosity from both cultures. Tunisia brings warmth and passion. I grew up with Tunisian women who speak with their hands and are loud and expressive — it is poetic in a way. The colours of Tunisia, like the blocks of colour from Carthage, inspire me. Sicily, on the other hand, influences the sensuality and the cuts in my designs. The mix of these two cultures allows me to explore both the boldness and the subtlety in my work. In a way, Sicily is about the shape and the emotion, while Tunisia brings the vibrant colours and life.

— Your designs are described as an ‘organic extension of the woman.’ How do you think fashion should adapt to and support a woman’s daily life?

— For me, fashion should fit seamlessly into a woman’s life. It should move with her, whether she is working, eating, or simply going about her day. That is why understanding the body is so important to me — every woman’s body is different, and my goal is to create pieces that feel like they are tailored to her individual shape and life.

— On your website, your work is referred to as ‘architectural.’ Why did you choose that word?

— For me, everything is about architecture — even something as simple as a black skirt. It is about how you build it, how you put your emotions into the piece, and how it connects with time. I have always admired designers like Azzedine Alaïa, who created his own world. I want my designs to have that same precision. Every cut, every line is deliberate. The technique is important because it creates the structure, like the spine of a building. Without it, the piece won’t hold. So, I see my designs as architectural because they are constructed to fit and enhance the woman’s body.

— Your designs celebrate ‘Women with a capital W.’ How do you ensure that Coccellato resonates with diverse women?

— I am inspired by all kinds of women — vulnerable, strong, emotional, dramatic. I want to celebrate the complexity of women’s emotions and experiences. For me, empowerment isn’t just about being strong, but also about embracing vulnerability. I grew up surrounded by women, and I think that shaped my vision. Women are generous, sensual, and emotional, and that is what I try to reflect in my designs.

— Like a Femme Fatale, right? She is so strong because she is so vulnerable?

— Exactly, yes. Femme Fatale is what I am inspired with greatly. 

— As you mentioned earlier, your last collection, the "Belle Étoile", draws parallels between modern life and a grand circus. What led you to this metaphor?

— I see the world as a circus, especially with the way social media has influenced our lives. We are all watching the world through our phones, and in many ways, we are performing, just like in a circus. There is a certain chaos, but also beauty, in how we present ourselves to the world today. That is the metaphor I wanted to explore in the "Belle Étoile" collection.

— Considering Coccellato is about empowering women — how can a circus empower women? 

— A circus is a place of performance and expression. In the same way, I want women to feel empowered to perform their lives however they want. Whether they want to be strong, emotional, or vulnerable, they should feel free to express themselves fully. That is the power I hope to give through my designs.

— Sustainability is a key element of the collection, with fabrics sourced from deadstock. Can you tell me about the sourcing process and how you balance sustainability with luxury? 

— Sourcing deadstock is challenging because it is limited. I source my fabrics from deadstock fabric shops in Paris like Nona Source, and I work with what I can find.

And I always put extra attention towards my embroidery, all my embroidery is made in Paris by Maison Aimard. It is a delicate balance because you have to be creative with what is available while maintaining the high-quality, luxury feel of the garments. But it is worth it because I want to be eco-friendly and make sure my brand is as sustainable as possible.

— Is there any symbolic meaning behind the central yellow colour in the collection? 

— Yes, yellow is a very complex colour, and I was initially drawn to it while sourcing fabrics. It symbolises light and optimism. In a world that can sometimes feel dark, I wanted to bring a sense of hope and positivity through this collection. The grey and yellow combination in the collection represents the contrast between reality and the hope we need to carry within us.

And it is a funny story about how I picked it. I was at my fabrics-sourcing market and I couldn’t pick a colour or a textile. So at some point, I just picked whatever I saw first at that moment. So it was more of a random, destiny choice. But it turned out great. 

— What message do you hope women take away from wearing pieces in this collection? 

— I hope women feel like they are their own stars — beautiful, powerful, and in control of their own story. Life can be challenging, but through my designs, I want women to feel empowered to embrace their own light and shine through the darkness.

— Do you have any pieces that were inspired by your mother’s wardrobe or patterns from your childhood?

— Yes, a lot of the jersey clothes I create are inspired by my mom. I specifically remember a Versace embroidered jacket she used to wear. The jackets I design now are very much influenced by her sense of style. Another piece I remember is a Jean-Paul Gaultier dress she had, which had a body-shaped print on it, like a statue from Greece. That dress, and others like it, deeply influenced the cuts I create today. She loved these pieces, as they were gifts from my dad, before he passed away.

— What is your favourite piece to design?

— I am obsessed with bralettes and jackets. I find bralettes particularly challenging because they require a deep understanding of different women’s bodies. Every woman has a unique shape, and creating a bralette that fits beautifully, while still being comfortable and functional, is incredibly complex. It is about finding that balance between architecture and sensuality. Designing jackets is also a favourite of mine — they are like puzzles, and I love working on the intricate details.

— What would be the core values of Coccellato?

— For me, I always say it is about generosity. Generosity can mean many things. For example, when you go to someone’s home, you experience the generosity of the food, the company. I want women to feel that way in my clothes — generous, sensual, and vulnerable. Vulnerability is important to me because it allows us to respect a woman’s emotions. It is not just about being empowered; it is about embracing every emotion. My designs reflect that. Women can be dramatic, hysterical, or vulnerable, and that is okay. That is what makes them powerful.

— What is your dream project?

— For now, my focus is on establishing my atelier, where I can continue creating and moulding pieces. I want to build a brand that includes accessories, shoes, and eventually even cosmetics. My ultimate goal is to create a complete, full-fledged fashion house that reflects my vision.

— Do you have any upcoming collaborations?

— Right now, I am focused on my brand and the creative process. Collaborations are something I am open to, but I want to make sure they align with my vision and values. For now, I am working on my next collection and continuing to evolve as a designer.