All it takes is one look at her vaguely Fellini-esque face to see that she is as versatile as a minaudiere or a clutch bag: just as colourful, just as over-the-top, and exuding the same exuberant charm that bursts out of every page of her catalog. And anyway, as far as she's concerned, being a bag designer doesn't just mean creating products for the market – selling things, to put it bluntly – but transforming stories and desires into genuine jewels of craftsmanship. Talismans, as she likes to call them. Perhaps that is why every collection looks like a mosaic of vaguely propitiatory objects – fabric fetishes, almost, capable of capturing the mood of their wearer. Like Prenditi cura di te, the comforting bag designed for the end of a love affair, or the Borsa diario with its blackboard cover where you can write whatever phrase you want in chalk.
Behind all this is her company, of course. Or rather, her company's philosophy, because after working in Milan and in India, Benedetta Bruzziches decided to set up her own workshop in a town with five thousand inhabitants near Viterbo: Caprarola - her town. One of the many Italian towns with a rich manufacturing tradition, Caprarola was Benedetta's school, as were her family, her rural ancestry and a certain vision of what Made in Italy means based on the quality of products and the life of the people who make them. That is where the secret of her bags lies: in the humanity which produces them, and the smells and atmospheres that coexist in every single moment of their production. No tricks: each of Benedetta's creations starts from her and her history, and projects that history beyond her, turning a simple fashionable accessory into a portable dream. Into a very real illusion that every woman, if she so wishes, can carry with her.
The story of Benedetta Bruzziches has been written by Giorgio Nisini, writer and essayist.