The craft behind
every piece.
From the first sketch at 4am to the last button covered in georgette — every BR garment is born from obsessive attention to detail, artisan knowledge and a love for materials that cannot be faked.
The sketch that arrives
before dawn.
Barbara often sketches at 4am — when the house is silent and inspiration arrives like a storm. No filters, no second thoughts. The pencil moves before the mind can intervene.
Each collection begins with a story, an obsession, a figure from history or mythology. The sketch is never just a technical drawing — it is the emotional blueprint of the garment. The silhouette, the proportions, the movement of the fabric on the body: everything is decided here, in those first raw lines.
From the sketch, Barbara develops the complete design: details of embroidery, choice of palette, draping studies. Only when the idea is fully expressed on paper does the work on the physical garment begin.
Only the finest
Italian materials.
The choice of fabric is never a compromise. Barbara selects each material personally — touching it, holding it against the light, studying how it falls and moves. If the fabric does not speak, the garment cannot be born.
Silk, brocade, organza lurex, enver satin, cady, tulle, crêpe de chine: each collection has its own palette of materials, chosen to tell a specific story. Maktub speaks through watercolour chiffon and organza that catches the light. Sofia through the weight and structure of brocade and cady.
All fabrics are sourced from Italian mills — Como for silks, Biella for structured weaves. The relationship with suppliers is personal, almost artisanal.
Pattern-making as
an exact science.
Barbara holds a diploma in Fashion Design and Pattern Making from the Istituto Carlo Secoli in Milan — one of Italy's most prestigious fashion schools. The pattern is not an approximation: it is the mathematical translation of the sketch into a wearable reality.
Each garment is cut with precision millimetre by millimetre. The grain of the fabric, the direction of the weave, the fall of the bias: every choice affects how the garment moves on the body. Nothing is left to chance.
For draped pieces — like those in Maktub — the cutting process becomes a form of sculpture. The fabric is shaped directly on the mannequin, then transferred to paper, then cut again. The process can take days for a single garment.
Every stitch
is a signature.
Embroidery is where the garment acquires its soul. At BR, all embroidery is done by hand — stone, 3D worked effects, sequins, metal fringes, crystal applications. No two pieces are identical.
The embroidery is designed by Barbara herself, often inspired by the theme of the collection. In Maktub, the 3D watercolour effects on chiffon recall the leaves of the Sibyl scattered by the wind. In Sofia, the peacock motifs in beading are a direct reference to the brand's symbol of rebirth.
A single embroidered jacket can require up to 40 hours of manual work. This is the time that cannot be compressed, the luxury that cannot be faked — the reason why a BR garment is not just a piece of clothing, but a work of art.
Obsessive attention
to every detail.
The finishing is where the garment becomes perfect — or is sent back to start again. Barbara inspects every seam, every button, every lining personally. Nothing leaves the atelier that she has not approved with her own hands.
Buttons are hand-covered in georgette or silk — the same fabric as the garment, so every detail is consistent. Linings are in printed or colour-block silk, designed to be a surprise for the woman who wears the piece: a private luxury, seen only by her.
Labels are hand-sewn. Seams are finished with the same care as the visible surfaces. Packaging is minimal and refined. From the first sketch to the final press, a BR garment takes between three and eight weeks to complete. This is not slow fashion — it is the only way to make something truly beautiful.