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An Interview with Massimo Cabbia, the entrepreneur who turned madness into a symbol of identity and courage.
In the world of Italian leather goods, where conformity seems to be the norm and brands chase one another in the name of trends, there are those who have chosen to do the opposite. Massimo Cabbia, founder of Manikomio Design, is one of those visionaries who decided to build a business based on a paradox: madness as a method, imperfection as a signature, and emotion as a product. We met with him to hear how Manikomio came to be, what it means today to create against the grain, and why, sometimes, the secret to success lies precisely in “stepping out of line.”
Let's start from the beginning: What is "Manikomio Design," and who is Massimo Cabbia?
I am literally the face of my brand. Only a madman would decide to launch a brand from scratch, in the middle of a lockdown, and have it manufactured in Italy when the local supply chain has long since been lost “in the labyrinth of almond-shaped eyes.” I chose to create a product that defies all logic, reviving the aviator’s kit bag used by American paratroopers during World War II. I didn’t have a name yet, but then I looked around and thought: only crazy people start a business in Italy—and in this way. That’s how Manikomio was born.
Let's start from the beginning: What is "Manikomio Design," and who is Massimo Cabbia?
Absolutely. And I’ll tell you what: making people smile when they hear the brand name is already a win. People don’t need another bag or another piece of clothing—they need an emotion. If you can make them smile, you’re already three-quarters of the way there.
In a saturated market dominated by trends, how can you stand out with an authentic project?
For many years, I worked as a sales manager—or, as they say, “the boss’s errand boy.” During that time, I realized something: if I were to put all the bags from various brands on a table and mix them up, no one would be able to tell one brand from another anymore. The homogenization of styles has sapped all emotion.
When I decided to start my own business, I told myself: I’ll make something I like, and then we’ll see if others like it too. It’s a slow process, but as the saying goes: trees that grow slowly put down deeper roots.
In this world, however, the market seems to be heading in a completely different direction: everyone is chasing the trend.
I enjoy repurposing objects originally designed for a completely different purpose and transforming them into fashion. That’s where the balance shifts. Making a copy of a Vuitton bag? Anyone can do that. But where’s the fun in that? Take our latest summer bag, for example: It’s a rug-like tote with a clever closure and huge lettering on the back. It’s so big that it almost becomes neutral. Writing “Forlì” on it is a statement of identity, like saying, “This is where we’re from.” Prada is from Florence but says “Milan”; I’m from Forlì and I’m proud of it.
Identity is what allows a brand to stand the test of time. And yours is immediately evident in the materials: curtains, rugs, upholstery fabrics... Where does this choice come from?
It’s simple: whatever everyone else is doing is, to me, a place to avoid. Then, every now and then, I go back—but only to “taint” it with my DNA. I use materials from the worlds of furniture, camping tents, rugs… but tomorrow it could be anything else. Experimentation is part of the game.
Another interesting topic is that of the unisex bag. It’s still a rare choice. How do you interpret it?
For me, a bag shouldn’t have a gender. If a product is good, it should always be good—in summer as well as in winter. When you decide that something “isn’t for you,” you’re limiting yourself. I have male customers who use the BB as a clutch, and women who carry the same bag as a crossbody. Conversely, the Icon, designed for men, is purchased mainly by women. The best-selling bag in Japan, the Lady 24, is bought by both men and women alike. For me, it’s not the customer who chooses the bag—it’s the bag that chooses the customer.
The details are also very important in your product.
Absolutely. Let me add one more detail: when I write code by hand on the tag and make a mistake, I don't rewrite it. I cross it out, just like in school. *Manikomio* is perfectly imperfect. Its imperfection contains everything: authenticity, irony, truth.
Can you tell us more about the packaging of your products? It says a lot about your approach...
Yes, and it's one of my favorites. When I bought my first iPhone, the thing that impressed me most wasn't the phone itself, but the box: that perfect sound when you open it, the attention to detail. I didn’t want packaging that would end up in the trash. Everyone was offering me nylon or nonwoven dust bags—I didn’t like them at all. Then, one Saturday afternoon, at a mill near my house, I saw some tan flour sacks. They were beautiful. I asked for five of them, and we screen-printed them and sewed them up just as you see them today. Everyone loved them: some use them as toilet seat covers, others as trash cans or beach bags. A problem gave rise to an idea that works—because it’s authentic.
And is it really this authenticity that reaches the end customer?
Yes, and I see it every day. We’ve reached 20,000 very active followers. Sometimes all it takes is a simple gesture—like giving away a shoulder strap—to build a real community. There are customers who’ve bought five identical bags in different colors because “they can’t live without them anymore.” When someone tells you that one of your bags brings them joy, that it’s become their “security blanket,” you realize you haven’t sold them an accessory, but an emotion.
How do you envision Manikomio in five years?
It’s not much different from today. I’m the madman here. As long as I exist, so does he. A year ago, an investor offered to bring me into the company, but he wanted to move production overseas. I told him right away: my bags are labeled “Forlì, Made in Italy.” I could never go back on all that and put “Made in China” on them. I’d rather keep going on my own, maintaining the brand’s DNA: quality and imperfection. This spring we’ll open our first standalone store in Japan—a crazy venture, and therefore perfectly in line with Manikomio.
In a world of imitations, your philosophy is to “stand out from the crowd.”
Exactly: outside the box, a bit like a madhouse. If I were to start copying others, I’d last a quarter of an hour. I’d get angry at myself. We live in a frenetic, often hopeless world. Doing something that stirs your emotions is the true joy of life. Many people told me, “What are you doing? We don’t need another bag.” But that was actually what drove me. It’s as hard as a rock, but I keep going, listening to everyone and doing things my own way. Because in the end, when you mess up, you’re the one who’s on the hot seat.
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