Permanent Collection
Permanent Collection
Our shirts are produced in limited editions at a small workshop in Barcelona
and made with fabrics from legendary European factories such as Thomas Mason, Cottonificio Albini, Albiate and Somelos.
Only available at selected retailers.
Our shirts are produced in limited editions at a small workshop in Barcelona
and made with fabrics from legendary European factories such as Thomas Mason, Cottonificio Albini, Albiate and Somelos.
Only available at selected retailers.
Private Collection
Part III
Back in 2021 we started a series of limited edition shirts we called Private Collection. These shirts are a creative endeavor to translate the works of artists we admire into a garment, paying tribute to them in a meaningful way.
In this third chapter of Private Collection, we introduce seven new designs inspired by the work of four extraordinary women artists and two men. Each shirt is directly inspired by a specific artwork, meticulously crafted to reflect the concept behind the original piece. Every shirt is numbered and comes in a custom-made gray cardboard box.
Intimate and Personal
Esther Ferrer (San Sebastián, 1937) is a pioneering Spanish performance artist and a leading figure in the minimalist and conceptual art movements. Her work, which began in the 1960s, often focuses on performance as a primary medium. One of her notable pieces, Intimo y Personal (Intimate and Personal) from 1967, involves Ferrer measuring her own body, recording the measurements, and reading them aloud. Supported by feminist slogans like “our body belongs to us,” the performance challenges beauty standards by showing that each woman has the right to her own unique body, free from societal expectations.
Over time, Ferrer has revisited this performance with variations: measuring herself naked, measuring a naked man, or both measuring each other. She has also experimented with larger groups, where multiple people measure each other in different combinations. These actions highlight how our bodies—and their measurements—change over time.
Inspired by Ferrer’s concept, instead of measuring a body, we chose to measure a white shirt as though it were a naked body. The measurements were written by hand with permanent textile ink, making each shirt unique and diverse, just like individual bodies.
Esther Ferrer, Intimo y Personal, 1967
Edition of 30 units
Bicho
Lygia Clark's work (Belo Horizonte, 1920 - Rio de Janeiro, 1988) marks a profound shift in art, representing a conceptual breakthrough since the early 1960s. Clark's artistic practice challenges and deconstructs traditional ideas of the artist, the artwork, and the viewer, transforming these concepts both individually and through their interrelationships.
Her pieces invite multiple forms of exploration and interpretation. In her Bichos series, Clark creates sculptures from metal, typically combining squares, triangles, and circles. These elements are linked together with hinges, encouraging a relational experience that goes beyond the visual. The works engage the viewer in tactile, sensory, spatial, and temporal ways. Rather than being fixed or static, the pieces are dynamic and malleable, constantly shifting. They are not defined by conventional relationships such as front-back, inside-out, or concave-convex, but instead exist in a state of flux, unfolding and reforming in an ongoing loop over time.
Just as Clark combined circles, squares, and triangles, allowing the viewer to engage with her pieces personally, we’ve crafted shirts with the same intent: being able to have the experience of wearing and interpreting the shirt in different ways.
Delocazioni, Claudio Parmiggiani (1982)
Lygia Clark, Projeto para um Planeta, 1960
Edition of 30 units
Shirt for a Shirt
Ignasi Aballí (Barcelona, 1958) offers a conceptual exploration of how we perceive and represent media like painting, objects, photography, film, and video. Since the 1980s, his work has played with texts, images, materials, and processes, challenging the boundaries between presence and absence, the material and immaterial, the visible and invisible, transparency and opacity, appropriation and creation. Aballí's art reflects on the overwhelming flood of images in today’s society, juxtaposed with the scarcity of meanings we can attach to them.
A central theme in his work is the relationship between text and image, words and things, or objects and the terms that define them. He often explores the tension between presence and absence, speculating on ideas of disappearance, transparency, invisibility, and illegibility.
Shirt for a Shirt is a direct translation of Aballí’s work Vitrina para una vitrina (Display Case for a Display Case). On a sleeveless shirt, we’ve layered another shirt with sleeves, connecting them at the shoulder and nape, creating a piece that reflects his exploration of visibility, presence, and materiality.
Ignasi Aballí, Vitrina para una Vitrina, 2000
Edition of 30 units
Cut Out Shirt
Formerly known as Philip Garner, this American artist challenged consumerism through drawing, performance, sculpture, and more over a five-decade career. In 1984, Garner began her gender transition, which she saw as a personal act of artistic inspiration. She viewed the body as another form of technology, similar to the cars she often used in her art, and sought to "reverse" her anatomy in the same way. Though her career paused from 1986 to 2014 due to gender discrimination, she has since been rediscovered in a time of growing queer and feminist awareness.
One notable piece, Cut Out Blazer (1982), featured a blazer with large cutouts exposing the breasts, challenging societal norms and celebrating visibility. In a similar gesture, we’ve cut a shirt at the chest, parodying and questioning the purpose or function of a shirt.
Pippa Garner, Cut Out Blazer, 1982
Edition of 30 units
Walther I
Franz Erhard Walther (Fulda, Germany, 1939) questions the nature of art and the viewer's role in it, exploring sculpture as a "habitable space" that transforms through interaction. Since the 1960s, Walther has used textile materials in his works, with seams as a central element. His pieces invite tactile engagement, turning into prototypes of possibility rather than finished objects.
For his "Gesamtkunstwerk" series, Walther created cotton textile pieces that function as both sculptural paintings and wearable forms. The viewer could wear or interact with these "body shapes" and "body covers" making participation a key part of the artwork.
In tribute to Walther, we’ve reimagined two of his iconic works from 1983, “Add the Body and I am the Sculpture” and “The Body Added”. Our version includes a white shirt with a cut collar, and the half of another red shirt with ribbons of the same fabric to adjust it to the body (as Walther did). This double garment is designed to be worn in various ways, echoing Walther’s spirit of interactive art. The second version consists of a white shirt with a single red sleeve overlapped on the left sleeve of the shirt.
Franz Erhard Walther, The Body Added,
Wall Formation Series, 1983.
Edition of 30 units
Walther II
Edition of 30 units