At a Panerai boutique opening on Rodeo Drive, the guests had something to do before dinner: choose a watch. They could wear it for the evening. Then came a meal at Jean-Georges in the Waldorf Astoria Beverly Hills. Editors, stylists, and influencers were on the guest list. Violetta Group was the event’s listed contact. The arrangement contained a small, sensible idea. If you want someone to understand a watch, give it some time on their wrist.
That evening offers a way into Violetta’s business. A product exists. An audience might care about it. Between those two facts sits a sequence of introductions, choices, appointments, and follow-ups. Someone has to arrange the encounter. Someone also has to remember where the merchandise went.
Violetta works in that interval. Its subject matter is often glamorous: fashion, luxury watches, celebrity dressing. Its usefulness becomes easier to understand when you look closely at the practical work.
01 / The introduction is a professional skill
Alice Braccini founded Violetta Group in 2014. The agency also identifies Jonathan Bollier as a founder and partner. Braccini’s background runs through LVMH fashion businesses in Paris, London, and New York, followed by London PR work and five years as vice president at Los Angeles agency MHA Media. Bollier brings experience in film, business development, and event production.
There is a commercial logic to that combination. International fashion needs people who can understand the brand’s intentions and navigate the market where it wants to be seen. The agency’s particular proposition is European experience paired with American relationships. It lists operations in Los Angeles and New York.
In her Voyage LA interview, Braccini described the agency as an extension of clients’ internal teams. Her examples ranged from Agent Provocateur and Panerai to Antonio Marras, Genny, Eleanor Balfour, and Ghost Vapes. It is an interesting spread: established luxury names, designer fashion, and a product associated with a different consumer conversation. Those are historical examples, rather than a promise about today’s client list.
The recurring problem is recognizable. A company can know exactly what it makes and still need help explaining why another market should pay attention. Translation here includes choosing the person who should receive the introduction.
02 / An inbox full of beautiful things
For a less photogenic view of the work, consider Agent Provocateur’s samples. In a historical Flaunter case study, Braccini described managing 750 samples and more than 200 requests at once. The old workflow involved unwieldy records, duplicate inventories, and large lookbook attachments. It consumed time.
A meeting at a PR Net event introduced her to Flaunter. Violetta adopted the software at the beginning of the pandemic, replacing cumbersome exchanges with shareable links and tracked requests. Braccini reported saving three to five hours a week on that account. These are her reported results in a vendor case study.
One account. Historical, self-reported figures.
The transferable lesson is pleasantly ordinary: make the next person’s job easier. A browsable collection and a trackable request give a relationship somewhere useful to go. The limitation is physical. Easier discovery can create more demand than available samples can comfortably satisfy; Braccini described that pressure, too.
03 / What the client is buying
Violetta’s offering spans editorial campaigns, influencer marketing, celebrity relations, events, showrooms, collaborations, and digital communications. A fashion label can use the showrooms for stylist and editor appointments. A product launch can involve press outreach, creator content, or a gathering. The agency also describes work with very important clients, the luxury trade’s VICs.
These services put it in the specialist communications-agency market. Its alternatives include building an internal team or hiring another fashion PR firm. The useful distinction for a prospective client is the combination of personal access, sector experience, and execution the assignment requires.
“The most valuable asset at the core of what we do is our relationships.”
Alice Braccini · Violetta Group
The business is a service relationship. Clients engage people to plan and carry out communications work; the website offers a scope that can scale to their needs. A buyer should therefore begin with an assignment: introduce a collection, support a store opening, arrange relevant dressing opportunities. A precise brief makes it possible to discuss what the fee covers.
For a budget conversation, separate agency work from the things an assignment might require: production, shipping, talent, or a venue. That is a practical way to compare proposals, rather than a claim about Violetta’s contracts. Ask which outputs will be delivered, who approves them, and how activity will be assessed. A photograph, a sample request, and a sale measure different things.
- 01Choose the story
- 02Make the introduction
- 03Deliver the access
- 04Record what happened
04 / Give people something to do
Return to that Panerai evening. The watch selection made the product part of the occasion. The guest list included people from the Los Angeles Times and C Magazine, alongside stylists and other cultural intermediaries. The event joined a retail location, a product trial, and a social setting in one sequence.
A related instinct appears in Violetta Virtual Sessions. Its published program includes a cooking session with Janet Zuccarini, wine with Jordan Salcito, and an UNO Artiste game night featuring Keith Haring’s work. Other sessions brought together creative and cultural voices, including photographer Shaniqwa Jarvis and journalist Christina Binkley.
These formats offer an alternative to simply putting a presentation on a screen. Participants have a subject to discuss or an activity to share. The agency describes the sessions as small digital gatherings connecting brands with journalists and invited guests. The editorial lesson is to design an encounter around what participants can actually enjoy doing.
05 / The work just outside the frame
A 2026 Gerald Charles release about Jermaine Mitchell wearing the brand at the Grammy Awards lists Violetta Group as the press contact. That credit establishes a communications role; it does not by itself establish who arranged the placement. Still, it is a concrete example of the agency appearing beside the finished public moment.
The daily work is more visible in Violetta’s Fall/Winter 2026 internship listing. Responsibilities include editorial monitoring, influencer research, Instagram support, copywriting, showroom merchandising, and sample trafficking. Read those tasks together and the agency becomes easier to picture: people moving between writing, relationships, and keeping track of objects.
For a brand choosing an agency, the fit depends on having a product and a story relevant to those relationships, plus the capacity to respond when interest arrives. For anyone else, there is a useful habit to borrow. Before asking for more attention, examine the handoff. Can the editor find the image? Can the stylist obtain the sample? Can the guest experience the thing you invited them to understand?
The finished picture rarely shows the person who answered those questions. Violetta’s business gives that person a job.