Another name in Berlin has been stirring up the fashion scene. Born out of the Universität der Künste, Monamobile merges the boundaries of clothing and objects, pairing it with a flair of parody and critique. Behind Monamobile are Mona Gutheil and Maximilian Benz who reimagines the role of garments by crafting pieces that go beyond fabric to deliver a commentary on the absurdities of late capitalism. Their creations often feel more like installations, exploring duality as each piece exists both with and without an external object.
Monamobile’s innovative constructions push the boundaries of conventional fashion—such as a dress with an integrated Barkin bag, perfectly sized to hold a small dog, or spider-like structures that transform into functional chairs. These designs provoke thought about the relationship between form and utility.
SLEEK sat down with Monamobile to discuss Berlin’s fashion landscape, the concept of functionality in their work, and how they navigates the challenges of viral success as designers.
SLEEK: How did you find yourself in Berlin to study fashion design?
Monamobile: Originally, I studied graphic design. But as I got further into my studies, I began to feel that something was missing—I needed more interactivity, and the thought of spending my entire life just sitting in front of a computer wasn’t appealing. Honestly, I don’t have that typical story of designing clothes since I was a child. When the application deadlines for programs like art, film, architecture, product design, and fashion design were coming up, I called my mom for advice. She told me, “Study fashion design.” So, a bit naively, I applied to the Universität der Künste here in Berlin and got in. Looking back, I’m so glad I made that decision, and it was definitely the right university for me. At UdK, the focus isn’t so much on clothing technology, like at some other schools in Berlin, but more on artistic and conceptual development. This freedom really helped me find and develop my own design language, and I’m grateful for that. Today, Monamobile is no longer just my project: together with my good friend Max we are currently building Monamobile as our joint brand. He also studied fashion design with a more technical approach hence we complete each other perfectly.
S: Your designs seem to carry functionality without really being that functional in everyday life, like it is more so a play on functionality. What is your approach in your design language? Is a certain degree of functionality still intended?
MM: Our design process intentionally plays with the definition of functionality. It’s about exploring the boundaries between function and dysfunction, much like gadgets. In both our general design philosophy and our current collection—consisting exclusively of showpieces—this exploration of these boundaries is at the core. That said, if we were to translate these designs into ready-to-wear, they could definitely be seen as functional for everyday life. Take, for example, a rain cape made for both the rider and their scooter: the front part can be easily transformed into a shoulder bag when getting off the scooter, while the cape itself stays on, offering protection. Our accessories often feature repurposed gadgets or gimmicks. Gadgets promise functionality, but in reality, they often become redundant after just a few uses. We find it exciting to place these items in a new context, thereby giving them back their value.
S: In which time period do your clothes exist? Even though they carry a modern and futuristic touch they seem to play with the nostalgic spirit of being fascinated by technology.
MM: We’re very much in the here and now. Sure, we’d love it if, in 20 years, people still find our pieces exciting. But design isn’t truly timeless; it’s always a reflection of the current zeitgeist. All of our designs carry a socially critical message that directly relates to the present.
S: How do you transfer those messages and your critique into fashion?
MM: The combination of clothing and objects makes stereotypes recognisable while offering subtle hints about the socially critical message. Our pieces are meant to stand on their own—we don’t want to impose their context on anyone. Those who wish to learn more can find answers in interviews.
S: Where does the inspiration for the title of your collection “You won’t believe” come from?
MM: Unlike financial or material resources, attention cannot be increased or stored. It is limited—and that makes it extremely valuable. That’s why, in the age of the internet, tricks and deceptions. Click-baits like the title of the collection “You won’t believe” are so successful. They aim to capture users’ attention, prompting them to look, listen, and interact—with the ultimate goal of driving consumption. The collection “You Won’t Believe” deliberately plays with the manipulation of attention, forcing viewers to confront various issues. Behind each of the intentionally exaggerated stereotypes lies both social critique and a satirical examination of society’s double standard.
S: Your constructions like an integrated chair piece that you can unfold to sit down go beyond the process of simply making clothes. How do you approach this? What interests you about these constructions that transcend the world of fashion?
MM: Our starting point and design philosophy always revolve around a mobile object and the corresponding reference clothing of a stereotype. We don’t work with a fixed selection of fabrics or a clearly defined design structure in mind; instead, we begin with an object and approach it through draping while combining that with the reference clothing. As designers, we bear enormous responsibility because we create something new and bring it into the world. For us, our work only has a reason to exist if it truly offers a new combination of products and serves a purpose—not a design that has already been replicated a hundred times. This is what drives us: creating something new, always with a touch of satire.
S: Your dress with the integrated Birkin bag, the Barkin Bag Dress, attracted a lot of attention. How does a young designer handle it when a piece goes viral? How can you build on that success?
MM: In fact, we bet on this post to go viral, as it highlights the hypocrisy of our society. As seen in the comments, the majority feel sympathy for our little four-legged friend and even express outrage that he is being used as a repurposed accessory. When looking at the profiles that left comments, a different picture is revealed: new leather shoes or steak on their dinner plate. Clearly, a dog should not be a repurposed accessory, but neither should the cow from which the birkin bags are made. We’re not advocating for bans here; we want to encourage more conscious, mindful consumption and raise awareness, as every animal should have the same inherent value.
Of course, it’s a positive thing when your work gains lots of attention, but you shouldn’t expect the number of likes to remain, only to be disappointed when they don’t. It’s great that Instagram gives small designers the platform to reach a wider audience and build on that. But just as quickly as a post can go viral, it can also be forgotten because something new goes viral. The most important thing is to work hard, be patient, and stay consistent.
S: How do you get dressed when you wake up in the morning? What’s your relationship with clothing, and how do you use it? Is the process similar to when you design clothing for your brand?
MM: Honestly, I wake up, throw on some sweatpants, and head straight to the studio. When your mind revolves around design from the moment you wake up until you go to bed, I just don’t have the energy to come up with a new outfit every day— though that’s definitely a different story when I go out in the evening. Since we haven’t created any ready-to-wear collections yet, we don’t wear pieces from our own collection. however we’re working on our first two ready-to-wear capsule collections, which is a huge challenge for us. Personally, ready-to-wear bores me quickly, but that’s exactly whats so appealing about it as well: creating something that’s practical for everyday wear but still retains the essence of Monamobile.
S: Berlin’s fashion scene is becoming more and more trendy on an international level. Do you identify with being a Berlin-based fashion designer, or what does the future hold for Monamobile?
MM: Yes, absolutely—we are based in Berlin, and that’s not changing. It’s great to see Berlin slowly getting more attention, and more and more great designers are emerging here. As for the future of Monamobile, we don’t want to become a typical fashion brand that follows seasons ending in fashion shows—that often leads to an endless cycle. For us, it’s more exciting to stay in the conceptual realm, releasing limited edition products or small ready-to-wear capsule collections and continuing to offer custom designs. We’re aiming for a balance between ready-to-wear, showpieces, collaborations, and installations.
CREDITS
Image Courtesy: Monamobile
Model: Lana Schüle