"I sense a Renaissance of craftsmanship"

In Mario Keine's Cologne studio, it's not just fashion being created, but rather a philosophy that combines the tradition of craftsmanship with contemporary innovation. The aim of his brand, MARKE, is to reconcile sustainability and quality without neglecting artistic integrity.

His F/W 2024 collection was presented by Mario Keine as one of the Berlin Contemporary winners at the Berlin Fashion Week in February at the Press Café on Alexanderplatz. "Allezeit bei mir" is a homage to personal memories and the power of small moments in life.

We spoke with the talented designer about his vision, his craftsmanship, and the challenges of adopting a sustainable approach in the fashion industry.

Great to have you with us, Mario! Let's start at the beginning: You knew early on that you wanted to pursue a career in fashion. What was your first and most impactful fashion moment?

Here comes a bit of a cliché (laughs): A month before my 13th birthday, during a family vacation in Austria, I bought my first VOGUE (04/2005; I still have it and cherish it like a treasure). Shortly after, I watched the Couture Show of Dior for the FW2005/06 season, which was already uploaded online as a video. The internet connection in my family's home in Sauerland was terrible at that time, so I had to wait for the video to load for about an hour before watching it, but then I played it on loop every day. That period marked the beginning of my obsession, and until the end of my school days, no notebook was spared from being filled with fashion drawings on every margin. Even today, almost every piece of paper I come across is immediately covered with silhouettes.

“Until the end of my school days, no notebook was spared from being filled with fashion drawings on every margin. Even today, almost every piece of paper I come across is immediately covered with silhouettes.”

Was having your own label already your dream back then?

Yes, it has always been my dream, but during my studies, I said that I wanted to work in the industry for a few years to experience all the processes and gain some experience. Ultimately, after my graduation, I worked for 5 years at a design agency in Cologne, where I was able to work on projects for international luxury and premium brands. This included not only design but also concept development in areas such as interior design, packaging, and visual merchandising, giving me an interdisciplinary insight and laying the groundwork for a holistic understanding of branding.

What is your vision for MARKE?

My vision for MARKE is to build and create a holistic brand world that honors hybrid references (I love working with contrasting references like high culture and pop culture), focuses on timelessness, craftsmanship, and quality, and motivates the audience to reflect on and consciously enjoy clothing and design.

´"All fabrics are circular, meaning they are sourced from excess and overproduction from Italian manufacturers, so no new materials need to be produced for MARKE collections."

Your ambition is to work as sustainably as possible with MARKE. What does that look like in practice?

When I started conceptualizing MARKE, I was aware that the world neither needed another brand nor more products. With this awareness, it quickly became my premise to create something that leaves the smallest ecological footprint possible while conveying the highest possible value.

All cuts and patterns up to production readiness are developed in the studio in Cologne. This allows me to keep an eye on all processes and to accompany and approve them until production clearance. As a result, to date, every piece shown in the collections only needed to be sewn once, and then all details matched. In most cases where production steps are outsourced (especially pattern development), it happens that pieces need to be completely re-sewn 2-3 times until all details are correct.

For complex pieces and special orders, I work with a production studio in Essen, near my studio in Cologne. This allows me to be on-site for questions or problems to prevent things from being unnecessarily reworked. The pieces are patterned and duplicated in Poland using the same processes to avoid unnecessary logistics and overproduction.

All fabrics used in the collections are circular, meaning they are sourced from excess and overproduction from Italian manufacturers, so no new materials need to be produced for MARKE collections.

What are the biggest challenges in this regard?

My personal challenge is to make my sourcing even more transparent and to maintain the sustainability of the supply chain I have built as the brand grows, even when outsourcing becomes necessary for certain processes at some point.

Which sustainability innovations are you particularly excited about right now?

Right at the beginning of MARKE, I presented a 3D-printed chain in collaboration with the artist Manuel Graf, invited by the Düsseldorf gallery VAN HORN. I have always been fascinated by the possibilities of 3D printing. On the one hand, because the possibilities in the materials used are constantly expanding. For example, the base material can now be generated from rapeseed, and nowadays, even metals or porcelain can be printed. Additionally, I am fascinated by the possibility here to replicate historical techniques such as turning and work that is no longer justifiable today, such as ivory carving, in form and appearance.

Currently, I am in constant dialogue with my friend's company, TAO Climate, whose vision is to offset CO2 emissions through certificates and the cultivation of hemp, one of the most durable and sustainable materials. Therefore, my thoughts are already revolving around working with hemp as a textile material.

"The wonderful thing about the current German/Berlin fashion scene is that we young brands think very cooperatively in exchange about innovation and sustainability."

Where do you inform yourself about new sustainability methods and techniques?

Mainly through direct dialogue. This can happen either directly within the industry or interdisciplinary. The wonderful thing about the current German/Berlin fashion scene is that we young brands think very cooperatively in exchange about innovation and sustainability. You can tell that there is a great awareness that we can only achieve this overarching goal, the improvement of such a complex and entrenched industry, through cooperation and exchange, not through elbow attitudes.

In your opinion, what should every label do to contribute to a more sustainable future?

Now, excluding the optimization of processes and supply chains: the specification and reduction of the product portfolio. This goes hand in hand with a fundamental question that one should ask oneself in the early stages of building the brand: to what extent is it possible to maintain my artistic integrity and values ​​as the brand grows?

"Overproduction is not only caused by unsold goods, but primarily by an offering that sacrifices values just to reach as many consumers as possible."

Overproduction is not only caused by unsold goods, but primarily by an offering that sacrifices values just to reach as many consumers as possible. I would say that in 99% of cases, adding logo small leather goods to the portfolio is not due to the artistic and craftsmanship statement but to the capitalist idea.

Which labels do you consider exemplary in terms of sustainability and why?

Difficult question! As I said before, I think that beyond a certain size of companies, it is no longer possible to be 'sustainable,' which is why I prioritize the question of growth.

"I would like to give a big compliment to my colleague Sophie from AVENIR. There are probably few brands that live sustainability as rigorously and informed and, above all, carry it outward to generate awareness through workshops and other actions."

Looking at larger labels and assessing them by different standards, I find the approach of LOEWE and Bottega Veneta very commendable. They strive to raise awareness among the audience for craftsmanship and quality through projects and communication efforts. Additionally, JW Anderson and Matthieu Blazy excel in developing products inspired abstractly by the zeitgeist but leaving a strong impact. Consequently, they sometimes transcend trends. However, given the scale of their offerings, this may not apply to all their products.

Turning to smaller, especially local, brands, I would like to give a big compliment to my colleague Sophie from AVENIR. There are few brands, I believe, that live sustainability as rigorously and informed as AVENIR, and they particularly excel in outwardly promoting sustainability through workshops and other activities to generate awareness.

"My aim is to take references from the past and counteract them with modern influences like street culture and wearing behavior."

You always strive for craftsmanship perfection in your collections. How do your designs come about? What is particularly important to you?

Thank you very much! If this impression arises from my work, I am very happy because sustainability through quality, hence longevity, is one of my core values. My collections follow a classic process: Concept - Research - Sketching - Pattern - Sample - Alteration - Final piece.

While chance and intuition play significant roles in development, unlike other designers, I don't work through draping or directly on the mannequin but rather through imagination, sketching, and pattern development. Most of my concepts originate from self-reflection, traditions, and questioning thereof. My mood boards mainly consist of references from details and silhouettes of historical clothing and (local) costumes and craftsmanship techniques, influences of applied arts, and architecture. So, I work heavily with historical references and less with references from more recent aesthetics. Nevertheless, I don't dismiss the latter. My aim is to take references from the past and counteract them with modern influences like street culture and wearing behavior. In my opinion, awareness can only be created through reflection, for which knowledge and context of the past are crucial. This is especially necessary in today's global situation.

How would you describe the current state of fashion craftsmanship? Are we losing techniques and methods, or is craftsmanship experiencing a resurgence?

Currently, I sense a renaissance of craftsmanship. Looking at the work of younger brands like Dilara Findikoglu, SG1OG, but also brands like Schiaparelli or Bottega Veneta, there is a strong focus on handcraft, reviving old techniques, or revitalizing old materials. This is a great development towards sustainability and individualism away from mass genericity

"MARKE was launched in January 2023, and I must admit, I am a little proud to have developed MARKE from a small launch at the Fashion Council Germany showroom with just 5 people attending a show in February 2024 with 260 people and 100 national and international press representatives."

What are you particularly proud of with your label?

So far, MARKE has been a complete one-man show. From design to pattern development, sampling of fitting patterns, development of production data, administration, logistics, social media, etc., I currently do everything alone. The only thing I have to outsource is the final production. Although this is a considerable challenge, it allows me to build and experience all processes myself so that I can supervise realistically in the future.

MARKE was launched in January 2023, and I must admit, I am a little proud to have developed MARKE from a small launch at the Fashion Council Germany showroom with just 5 people attending a show in February 2024 with 260 people and 100 national and international press representatives. So much has happened this year - including an invitation to NEUDEUTSCH at Pitti Uomo, sales at TRANOI during Paris Fashion Week, participation in Strike A Pose Festival in Düsseldorf, Press Days participation, winning the UGG Prize, a presentation in the summer, and now the first proper show in February. This year felt like compressing three years into one.

What's next? What are your dreams?

The next steps involve focused work on the next collection as the timeline for SS25 is very tight. My dream would be to receive another grant from the Berlin Senate for the upcoming Berlin Fashion Week to establish MARKE rigorously.