Interview with Massimo Braccialini

Elegance, memory, identity. Some fashion stories are not only about accessories or style, but about vision, character and sensibility. The story of Massimo Braccialini was born within one of Italy’s great creative families and, over time, has found its own personal, authentic and contemporary voice.

Raised alongside Carla Braccialini, an iconic figure in Italian design, Massimo experienced fashion from the inside: through intuition, discipline, research and expressive freedom. After many years working in the family company, he chose to follow an independent path, continuing to interpret the world of leather goods through a deeply personal vision shaped by quality, emotion and attention to detail.

In this conversation, he revisits memories of his childhood, his bond with his mother, the lessons that shaped his life and the vision that today gives form to his creative universe.

On social media, people sometimes ask: “Who is Massimo Braccialini?” How would you answer that question?

Massimo Braccialini is someone who, first and foremost, loves life — and then loves his work so much that, when people often ask me, “What is your hobby?”, I answer that my hobby is my work. It may sound unusual, but when you are truly passionate and enthusiastic about what you do, it becomes a profound source of fulfilment.

In my free time, I often travel, and that helps me clear my mind from everyday life and set my imagination and creativity free. I began this journey more than forty years ago, first as a designer and then as a manager, yet I still feel the same enthusiasm I had at the beginning.

I am curious by nature. I love looking around me and trying to understand how people’s lifestyles change — especially women’s lives — as well as society, customs and, of course, fashion. I try to perceive every possible sign of change. And perhaps because I was born into it, fashion still fascinates me deeply.

In general, I dislike banality and uniformity. I also believe that creativity, even when it is innate, must always be cultivated: it develops sensitivity, something we all need.

What memories do you have of your childhood alongside Carla Braccialini?

My childhood beside my mother is filled with memories. In those days, she would often take me with her while she worked, and I was always fascinated by watching products come to life with such extraordinary skill and creativity — products that, over time, seemed to transform almost by magic.

I was also always struck by the wonderful relationship she had with her suppliers and employees. She was certainly a woman of strong character, but everyone admired her and felt great affection and respect for her. I think, in part, this was because at that time there were not many women designers and entrepreneurs.

I saw her go through beautiful moments and difficult ones, yet she always managed to overcome them with remarkable spirit. I remember the flood of 1958 in Florence, when the company was swept away by the force of the Arno and everything was lost... but she, together with my father, started all over again with tremendous determination. Those were not easy times, but I never experienced them as dramatic.

Roberto Braccialini with his children, 1973
 

From childhood, she would take me with her to Paris or London for research, and I followed her with great enthusiasm. Of course, she could also be a strict mother at times, but she passed on to me one great lesson in life: the spirit of freedom, which would go on to shape my entire life.

And finally... the goodnight kiss: a beautiful and indelible memory.

Was your path in fashion and in the family company a natural continuation of your family history? Or did you ever consider choosing a completely different profession?

In truth, when I was young, all I thought about was enjoying the good life — a sort of little prince! But after my father died, when I had only just come of age, I understood that an important door was opening for me. A void had been created within the company, and for that reason my dream very quickly became to work.

Carla Braccialini with her children in the sample room of the factory in Via Pio Rayna, Coverciano, 1984

 

As soon as I finished my studies, I immediately began working in the company. The first thing I understood was that, if I wanted to support my mother in running the business, it was essential to “learn the craft”.

I rolled up my sleeves and spent about three years working under the guidance of my mother’s head patternmaker, trying to learn every production technique, gradually acquiring greater skill and earning the respect of the employees — but above all, my mother’s trust.

From that moment on, I began working closely with her. That collaboration lasted around forty years and was an unforgettable life experience. We worked in symbiosis, and every project we conceived was discussed together — sometimes quite passionately.

Left: Massimo Braccialini on Srinagar Lake, Kashmir, 1985 / Right: Carla Braccialini during a trip to India, 1985
 

I recognize that my mother was a visionary genius in the world of leather goods — at times even a little mad — while I worked on the stylistic side with a more commercial vision. From that union came something that, without false modesty, has remained part of the history of Italian leather goods and of leather goods worldwide.

There was only one moment when I thought about giving it all up: I was around thirty. After the frenzy of the early years, I realized that this work required a great spirit of sacrifice and total dedication, sometimes even at the expense of one’s personal life. My mother, very pragmatically, said to me: “We have come this far, and now you can no longer give up!” I reflected on it for a while and decided to carry on.

If I had not chosen this profession, I would have liked to play music or devote myself to photography — which I have in fact done, and still do, in connection with my work.

What did your mother teach you? What is the most important life lesson you made your own and still carry with you today?

I think one of the most important lessons was to “never give up”. I would say the grit and tenacity to carry your ideas forward with strength and determination. To have the courage to dare — professionally speaking, of course.

I remember that in the past there were moments when part of the public did not understand her creations. But time proved to be an ally, and through perseverance, the success she deserved eventually arrived.

And then there was the pursuit of beauty, class, aesthetic refinement and personality, without ever falling into self-importance.

Another important aspect she passed on to me was the world of colour. It is practically infinite, and the wisdom and ability to mix or match colours often make all the difference.

Finally, dedication to work. Work done with passion and love is not a burden, but an incentive to move forward and do better every time.

What was your professional path within Braccialini before creating your own personal project?

My professional path within Braccialini was a very long one. I always dealt with the creative side in every sense. That did not only mean creating or imagining new products.

I spent a great deal of time in tanneries, learning about tanning techniques and developing new leathers and new processing methods that could best express the Braccialini taste.

As the company grew, its needs constantly increased. First and foremost, I made sure that every product marketed under the Braccialini name preserved the identity of the brand. We developed an infinite number of products that, for us, were satellites — not directly linked to the world of leather goods, but representing an important part of the business: shoes, umbrellas, scarves, knitwear, T-shirts, swimwear, watches, costume jewellery... even motorcycle helmets. Everything had to carry the taste and imprint of the brand.

Another very important aspect was retail. Over time, we realized that we could not be only designers and manufacturers. If we wanted to establish ourselves on the Italian market and, above all, internationally, we needed to open monobrand stores under our own name.

The first was, of course, Florence, then Milan, then Rome, and from there we continued until we had around twenty points of sale in Italy. Later we opened in Paris, London, Moscow, Tokyo, Hong Kong, New York and so on, in major cities around the world. I believe that, in the end, between directly operated stores and franchises, we reached more than 200 stores worldwide.

Massimo Braccialini in his workroom, 2012
 

This required an enormous amount of work on store layouts, which continued to evolve over time. Here too, I followed, directed and supervised the work of the architects.

The visual side was also extremely important. Planning the worldwide window-display calendar — and especially the creative part — was a demanding and essential task. For this reason, we created a dedicated team, but it had to be guided, directed and personally monitored. All the windows had to communicate, simultaneously, what “the Braccialini world” was at that particular moment.

Massimo and Lorenzo Braccialini, 2012
 

Another important area was communication. We had, of course, created a marketing department to plan all advertising tools, but together with my mother, I worked on the creativity of the images for advertising campaigns, collaborating with many of the most highly regarded photographers and graphic designers of the time. Everything had to be decided and approved by us.

Often, these were real labours of creation... just like creating a collection! There are many other activities I could mention, but I do not want to go on too long. In any case, for many years I held the role of creative director of the company.

Why did you decide to launch a brand of your own? What was the main motivation that pushed you to follow an independent path?

The key moment came when my mother, quite rightly, decided to retire from her professional life. I would say that my project was born almost at the drawing board. Knowing the world of leather goods very well, and analysing it even more carefully, I asked myself what might be missing from the market in order to be successful.

The answer was clear: a modern product that followed the codes of constantly evolving fashion; a Made in Italy product, made of genuine leather, of good quality and at an accessible price — but never at the expense of its own identity and recognizability.

M*BRC – SS 2026 collection
 

I started from the idea that the price range should be in line with other brands sold in multibrand stores, but which, beyond style and taste, mostly offered synthetic products made in China.

I am not necessarily a devotee of Made in Italy, but I do believe it is still synonymous with quality and fine craftsmanship.

As for leather, the culture surrounding this fascinating material — with its very important history and tradition — has now been almost completely lost, and I will not go into that here. There is, however, one undeniable fact: leather is far more long-lasting than synthetic material or faux leather.

If a leather bag is properly cared for, it can last for years and years. A synthetic bag has a much shorter lifespan: over time it peels, flakes and is highly sensitive to temperature changes. This means that the “investment” in purchasing a leather bag is far more worthwhile.

Often, beyond the investment itself, many clients become attached to their bag and would like it to last forever... What is certain is that a synthetic bag is undoubtedly much less durable.

Over the last few years, there has been a shift in purchasing habits and greater awareness: the final customer has begun to understand the substantial difference between the two, and this has worked in our favour, leading to significant appreciation of our products on the market.

That said, which is the more practical side, there were other motivations too. The fundamental idea was to think about a different way of creating a collection. At Braccialini, we were partly conditioned by the brand’s established stylistic codes. I wanted to move forward without being conditioned by the past and to express myself stylistically according to what I feel... let us say, with a greater sense of freedom.

Of course, after so many years spent at Braccialini creating many successful lines, it is only natural that some of that DNA has stayed with me. It could not be otherwise, and I absolutely do not deny the past. But my idea is precisely to evolve, creating new and different products.

I put myself back in the game, and that gave me many new stimuli, even though, in the end, I do more or less the same work I did before... but everything has changed!

When I began this new path, my mother said to me: “You have more courage than a lion.” That made me proud... especially because it came from her...

How does your style as a designer differ from that of Carla Braccialini?

Carla Braccialini became known throughout the world for her iconic bags of rare imagination — jewel bags, almost works of art, bags that only her creative genius could have conceived. Some of them took months to perfect. A magical world. Timeless objects.

The products I design are, in most cases, more suited to everyday wearability: for a dynamic, modern woman who follows contemporary fashion but is not a victim of it, and who still wants a bag with personality, one that stands apart from general uniformity.

For you, what matters most in a beautiful bag: the idea, the shape, the colour, the quality of the leather or the emotion it is able to convey?

It is generally known that, in most cases, a woman buys more instinctively than a man, so emotion is the trigger behind the purchase. But all the other elements are equally important. The ideal is to be able to satisfy all these characteristics.

In the end, attachment becomes the most important thing.

How would you describe the M*BRC brand to someone discovering it for the first time?

The world of M*BRC is a mix of concreteness and creativity. A product cannot exist without special characteristics. Of course, the leather factor is essential, but every single model must carry a sense of uniqueness and value, whether more or less pronounced.

M*BRC – colour-blocking style bags
 

A particular workmanship, a crafted or embellished shoulder strap, the feel of artisanal skill, a metal accessory, special applications, distinctive leather treatments... everything can contribute to making a product distinctive and capable of seducing the eye.

The most incredible thing is that, in fashion, everything has already been done. But it is a little like music: the notes are always the same seven, yet there are still people who manage to create something new. I have the ambition to do the same with my products.

And let us not forget that a bag is still a product made by hand — something that today is not quite as obvious as one might think.

What would you like the public to know about you today — not only as the son of Carla Braccialini, but also as a designer with an identity of your own?

I believe stylistic qualities reveal themselves “in the field”. What matters to me is not words, but facts. And the facts lie in being able to capture the public’s pleasure while maintaining one’s own creative identity. In transmitting emotions that are compatible with the needs of potential clients.

Because of my professional habit, I cannot conceive a product without thinking about the woman who might wear it. For this reason, it is essential for me to constantly observe fashion trends, but also — and above all — the changing attitudes of the female world.

The work I did with my mother was never a matter of subordination. I would describe it instead as an almost symbiotic collaboration. Within the Braccialini collections, there were many lines I created entirely independently, and they received great appreciation on the market.

Years ago, in an interview, my mother said that I had become almost better than her... I never thought so, but I can say that, behind the scenes, I too experienced great satisfaction in seeing my creations appreciated.

Carla Braccialini with her children during the celebration of her eightieth birthday
 

Stylistically, I never worried about being the son of Carla Braccialini. On the contrary: it has been a pleasure and an honour, and I have never felt diminished by it. For the wider public, it did not seem important to communicate the existence of two designers, and I was always proud that she was the protagonist in everyone’s eyes — also because she deserved it, if only for the fact that she was the founder of the maison and therefore held an undisputed right to that role.

Yes, of course, she was Carla Braccialini. But for me, she was and always remains simply my adored mother, with whom I shared both joys and sorrows, also professionally.

Massimo Braccialini’s story leaves the impression of a legacy lived not as a burden, but as an inner strength. Beside the memory of Carla Braccialini emerges an independent, mature voice, deeply connected to the value of work, sensitivity and expressive freedom. In a fashion world that is constantly changing, his gaze remains faithful to what truly matters: identity, quality, emotion. And perhaps this is the most elegant signature of all.
 

Editor: Eugenia M.