Executive Q&A: Francesca Cinelli on Blending Couture Craftsmanship with Wearable Storytelling

Francesca Cinelli is an artist whose work defies easy categorization—merging the worlds of fine art, couture craftsmanship, and cultural storytelling into an expressive, tactile form she calls Bijoux Cravatés. With a background that spans antique dealing, theater, and high fashion, Cinelli draws on a kaleidoscope of global influences and personal memories to craft sculptural accessories that are as emotionally resonant as they are visually striking.

Francesca Cinelli

Now based in New York, Cinelli brings a poet’s sensibility to the creation of her wearable art. Each piece begins with a vintage tie—an object loaded with history and symbolism—and evolves into something wholly unique through her signature embroideries and eclectic material choices, sourced from flea markets and artisan shops across continents. The result is a kind of living collage: part jewelry, part sculpture, and part personal talisman.

In this Q&A, Cinelli reflects on the origins of her aesthetic vision, the influence of her family and early environment, and the philosophy behind her avant-garde yet deeply wearable designs. From reinterpreting couture techniques to finding inspiration in jazz and nature, Cinelli invites us into her world—one where fashion is not merely decorative, but a canvas for meaning, memory, and identity.

Q: Can you share the story of how you first fell in love with wearable art and couture fashion?

I was working with a great art dealer in Paris at the time, who exposed me to art and craftsmanship from cultures all over the world. There was such diversity in shapes, materials, stories, and meaning! I remember wearing antique objects—parures from the Amazon or Indonesia—and making them the finery of modernity when they were supposed to be only displayed. I like to think it gave these objects the liveliness that fashion can bring to art. Engaging freely in the world of antique and art dealing opened up my vision to bridging art and fashion.

Q: Growing up in New York, how did the city’s energy and creativity influence your artistic path?

Well, I didn’t grow up in New York, but I have been living here for the last 13 years! New York invited me back to art and fashion through live jazz music, which I immersed myself in while writing a PhD dissertation. New York is the mecca of jazz, with a long history deeply connected to self-representation and freedom. It fed my creativity in unexpected ways, and I started creating my Bijoux Cravatés as I was writing. It opened new territories in my creativity because of the richness of rhythms, sound colors, and the sheer newness of creative music in my world. Music has always been a very important part of my life, ever since I can remember.

Q: Were you always drawn to blending fashion with fine art, or did that fusion evolve over time?

It evolved over time as I grew up in both worlds: my mother was an artistically fashionable woman in her professional life, and my father was one of the great French chefs and sommeliers of his generation. Gastronomy and fine service are arts too—a mix of savoir-faire, tradition, freedom, and creativity.

Q: Did you have any formal training in fashion design or art?

I have formal training in pattern drawing and sewing, and informal training in art. That said, the fusion of fashion and art evolved through diverse professional experiences—working freelance for couture houses, with interior designers, and with art and antique dealers. My life in theater is part of it too: being an actor is about finding a balance between your mind, your heart, and your body to serve a wide variety of characters and emotions without judgment. Theater freed me from the notion of territory, which easily traps artistic practices in a rut.

Q: Who were your early inspirations—either in fashion, art, or beyond—that shaped your aesthetic vision?

My mother! She would change outfits for each service at her gastronomic restaurant. She had an old seamstress who, in a day and without drawing a pattern, could make an outfit from a fashion magazine. In the hotel above the restaurant, my mother had a room she transformed into a theater dressing room. It was fascinating—dresses hanging over the walls, dozens of pairs of shoes under the bed, more clothes on top of it, and a small spot to sit and watch. She would change from morning clothes to a vamp silhouette like Sophia Loren. Her creativity and freedom shaped my aesthetic vision.

My big brother also influenced me. When I lived in Paris, he introduced me to the world of objects, textures, antiques, decoration, and Parisian fashion. During my PhD years in New York, I remember feeling trapped in an intellectual life that wasn’t enough for me. His advice was to get involved in something creative again. He suggested ties as something I might explore, as I’ve always been into fashion.

Q: How do you define yourself creatively: as an artist, a designer, or a bridge between both worlds?

A bridge between both: I see myself as an artistic designer.

Q: How do you approach the design process for your wearable art pieces? Does it begin with a concept, a material, or something else?

It always starts with the fabric—the vintage tie I choose to make a new piece. Its shape, feel, colors, pattern, and texture guide me. On my work table and shelves, I have a cornucopia of treasures I collect during travels in Europe and North America. These elements become part of my embroideries and sculptures, which I compose organically. I trust my life experience in aesthetics and try not to overthink it. The design process is a space of freedom and meditation for me.

Q: Many of your pieces seem to tell a story. How important is narrative in your work?

I see myself as a storyteller—whether I make Bijoux Cravatés, write, or perform on stage. It involves all of me: the told and the untold, strength and vulnerability, imagination. My storytelling includes the travels that lead me to materials, the dreams and memories they evoke, and the love, strength, and craftsmanship they still whisper. Storytelling is very important to me—it’s the core of humanity. We tell stories to make the world more beautiful, acceptable, and livable.

Q: Can you describe one of your most memorable or meaningful pieces, and the inspiration behind it?

I had finished a complex piece but couldn’t find balance in the embroidery. Frustrated, I cut the tie several times with scissors. I didn’t throw it away but kept it in a drawer for two years. One day, I opened that drawer and saw the forgotten embroidery. To use it, I had to create something new to make the cuts an asset. I found another piece of fabric, combined them, and applied the new embroidery on another silk shape. This piece became a classic that says a lot about time, creativity, and confidence.

Q: Your materials and textures are often unconventional. How do you source or select them?

Along my travels. Wherever I am, I visit antique shops, flea markets, and artisan workshops. I go without expectations—this keeps my creativity alive. Most of the time, I don’t know how my finds will become part of a Bijou Cravaté story, but when something sparks inspiration—whether it’s broken jewelry, antique embroidery, plastic beads, or Victorian buttons—I know I can translate that liveliness into my art.

Q: How do you balance functionality with the avant-garde nature of wearable art?

The shape of Bijoux Cravatés is meant to feel comfortable and be wearable with any kind of clothing. It’s very important to me that you feel free when wearing a Cinelli. The avant-garde nature of each composition is like a revelation of your uniqueness. I enjoy when art is alive—it should live the rhythm of your life. Bijoux Cravatés are both accessories and private museum pieces.

Q: Are your wearable art pieces designed to be worn once for impact, or do you envision them as part of a collector’s wardrobe?

I would say both. It depends on your personality. I have pieces I often wear with different outfits—they allow me to tell different stories of elegance, a constant trait in my creations. Some clients wear them once and display them in their boudoirs. Others gift them and come back for more.

Q: How does couture craftsmanship influence your design techniques and attention to detail?

The work is done precisely and lovingly. The love, savoir-faire, the quality of the eclectic materials I use, and their historical richness are all intentional. The thought of my clients feeling wonder and joy in owning and wearing a Bijou Cravaté fuels my dedication.

Q: Do you see your work more as runway statements or as collectible pieces of art for private clients and galleries?

Both. They are unique statements meant to be displayed and worn—in galleries and on runways. My solo exhibition in New York displayed them on brutalist steel stands, with framed art photos highlighting the detail. I definitely see my art walking the runway in collaboration with couture or jewelry houses.

Q: How has working in or around couture houses informed your understanding of tailoring, embellishment, and silhouette?

It taught me about precision, attention to detail, the importance of comfort in the cut, the finishing (caring for both the outside and inside), and achieving balance in accessorizing—whether it’s jewelry, shoes, bags, or makeup.

Q: Are there particular couture traditions or techniques you love to reinterpret in your wearable art?

Embroidery and hand sewing are the techniques I love to reinterpret. More broadly, I enjoy playing with symbols and stereotypes—creating new stories open to each viewer’s interpretation.

Q: Have you collaborated with couture fashion designers, or is that something you aspire to do?

Not yet! But I aspire to. I would love to work with great tie makers to design collections of Bijoux Cravatés or collaborate with jewelers to incorporate precious stones into my treasure trove.

Q: What role do you think wearable art plays in contemporary fashion conversations about sustainability and individuality?

I’m not sure… but protecting the planet and species is a duty today, whether in art or fashion. Wearable art might place individuals in a better space for connection, love, and self-respect. It could invite more awareness, less consumption, more contemplation, and a deeper understanding of luxury, identity, and necessity.