1000 Ideas by 100 Fashion Designers

Kathleen König/Haltbar 167

050

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The German word

haltbar translates as

durable, solid, and

lasting, which perfectly

describes the spirit

of this label. Since its

foundation in 2001,

the company has

been innovating and

reinterpreting classic

German fashion.

Their philosophy is

to work with small

family businesses

in order to preserve

existing infrastructure,

know-how, and

heritage. Haltbar

started producing and

distributing a line of

interior, accessory, and

textiles up until 2003

when the side project

Haltbar Murkudis

was born. Along with

Kostas Murkudis, a

unisex collection based

on German workwear

was produced and

marketed. Through

its distributors and

its  agship store in

Munich, Haltbar

sells solid materials,

often with handmade

elements that are

resistant to fading

and wear and tear, in

an effort to become

timeless and a favorite

for basics.

Kathleen König/Haltbar

www.haltbar.de

© Thomas Degen

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© Thomas Degen

© Markus Strasser

491 INSPIRATION. My label provides me

with a frame and then I just keep my eyes,

my ears, and my mind open.

492 W

ORKPLACE. My atelier is situated

in a nice Munich neighborhood that borders

on a historical graveyard where many

famous artists, like Klenze, are buried. I

really believe this atmosphere makes for

fantastic vibes.

493 M

ATERIALS. My label is called

Haltbar (“durability”). That is why I

look for old workwear fabrics or draperies

from small weaving mills, mostly from

Germany, Switzerland, and Austria.

494 C

OLORS. Use colors to enhance your

designs. To me, color follows function.

495

D

EVELOPING A COLLECTION. Try to think

what you like and then go from there.

To me, functionality, simplicity, and

my philosophy are key.

© Markus Jans

© Thomas Degen

© Markus Jans

168 1,000 Ideas by 100 Fashion Designers

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Kathleen König/Haltbar 169

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© Markus Strasser

© Thomas Degen

496 INDIVIDUALITY VS. GROUP BELONGING.

Individuality. De n it ely.

497 STYLE. I want my clothes to feel

natural and I communicate this to my

costumers. Other than that, I feel that

clothes don’t need a strategy.

498 E

VOLUTION. Distinctiveness,

articulateness, simplicity, self-evidence.

The one thing I do change is accessories.

499 A

DVICE. Be consequent. Then stick

to it. Be passionate. And always brush

your teeth.

500 S

ALES. You never know, let them

surprise you. But make sure you have a

completed picture in your collection.

© Thomas Degen

© Thomas Degen

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502 REFERENCES. My mother is a

wholesaler of Italian fashion. When I was

a child she would let me play at making

displays. I would travel to Italy with her

and help her at trade fairs. I suppose having

this subconscious is what made me decide to

go into fashion when I  nished school.

503 D

EVELOPING A COLLECTION. I

mix aspects of Spanish suburban

barrio

culture, sport, hip-hop, and luxury.

504 COMMUNICATION. It happens the

same way. We present our projects to the

public on two platforms: at BBB on an

international fair level with consolidated

brands and at 080 at an alternative

showroom level, with a runway show

among young international designers. It’s

useful as long as the showroom is right for

your label and the clients that visit it, too.

505 C

HALLENGES. Moving forward with

what I’ve learned.

501

S

TYLE. I de ne my style as “sport deluxe,”

a mish-mash of what is considered street,

suburban, and urban culture on the one

hand with their opposites: luxury, power,

kitsch...all mixed in with rap, hip-hop, and

trashiness.

170 1,000 Ideas by 100 Fashion Designers

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