Dropping Sunday, 1 March · 12:00 PM
Geometry.
Colour.
Emotion.
Three new designs inspired by the pioneers of abstraction — Wassily Kandinsky and Paul Klee.
In the 1920s, two artists shared a teaching floor and a radical belief: that colour wasn't decoration. It was language. This Sunday, their work becomes something you can wear.
Color Study: Squares with Concentric Circles, 1913
Städtische Galerie im Lenbachhaus, Munich
Wassily Kandinsky · 1913
He painted it as a personal note to himself. It became the most recognised abstract painting ever made.
Squares with Concentric Circles was never intended to be shown. Kandinsky created it as a private colour reference — a visual study he used while working on his larger compositions. He was exploring how colours behaved next to each other, how they clashed or harmonised, how certain combinations seemed to hum.
What drove that curiosity was something extraordinary: Kandinsky was a synesthete. He didn't just see colour — he heard it. A bright yellow might trigger a sharp, high-pitched sound. A deep blue, something low and resonant. He believed colour vibrated the human soul, that the circle was the most fundamental form in all of art — the origin of everything. Twelve squares, twelve unique combinations, colours that almost pulsate when you look at them. It feels as alive today as it did in 1913.
Watercolour, gouache and crayon on paper · Städtische Galerie im Lenbachhaus, Munich · Joins the Kandinsky 3-pack
Castle and Sun (Burg und Sonne), 1928 · Private collection
Paul Klee · 1928
A city that never existed. A sunset you can almost feel.
Castle and Sun — Burg und Sonne in the original German — depicts an imaginary skyline built entirely from geometric shapes: triangles, rectangles, and blocks of warm colour stacked into towers and walls, with a single glowing orange sun hanging in a deep red sky above it all. The warm palette was intentional — Klee wanted you to feel the heat of a setting sun on ancient stone.
It's architectural and dreamlike at the same time. Klee taught at the Bauhaus alongside Kandinsky, and the geometric language is all over this work — but his hand is lighter, more playful. Where Kandinsky reached for the cosmos, Klee built worlds you could almost step into.
Oil on canvas · 50 × 59 cm · Private collection · Part of the Klee 2-pack
Senecio (Head of a Man Going Senile), 1922 · Kunstmuseum Basel, Switzerland
Paul Klee · 1922
Half mask. Half memory. Completely unforgettable.
Senecio is one of the strangest, most quietly affecting portraits in modern art. A round face divided into geometric patches of orange, pink, yellow, and white. Two asymmetric eyes — one set higher than the other. An expression that hovers somewhere between wisdom and bewilderment. Its full title is Head of a Man Going Senile — and the face reads like a harlequin's mask, ancient and childlike at once.
There's something that stays with you. A hint of sadness. Something that knows more than it lets on. Klee painted it during his Bauhaus years in Weimar, and it now lives at the Kunstmuseum Basel — one of the oldest public art collections in the world.
Oil on canvas mounted on panel · 40.5 × 38 cm · Kunstmuseum Basel, Switzerland · Part of the Klee 2-pack
These works become
something you can wear.
Three new designs. Available Sunday, 1 March at 12:00 PM.
Kunstsokken · Wearable art · Made from organic cotton