The proposal for the TOUS store window on Gran Vía begins with a non-negotiable condition: to respect the silhouette of the brand’s iconic bear. From there, the challenge was to create a piece that would go beyond decoration — one that could function as an autonomous visual artifact. An intervention that, without abandoning its commercial form, could generate a complex aesthetic experience.
The result is a hanging sculpture built from overlapping layers that seek to overflow two-dimensionality. The bear’s shape is not denied, but transformed: it becomes undulating, soft, almost liquid. The curves absorb the rigid contours, and the saturated colors shift any literal reading toward a more fantastical, more sensorial universe.
Color here acts as a tool of distortion. The palette moves between electric purples, synthetic pinks, and dense blues. There is no rational logic of color, but rather a logic of desire. What is at play is visual pleasure — that excess that doesn’t quite fit within function. A sweet, yet restless aesthetic. Familiar, yet unstable.
The structure works as an open assemblage, where each layer introduces a new rhythm, a new texture. Volume is not given by mass but by the proliferation of planes. The piece does not impose itself — it floats. And by floating, it allows the viewer to peer into an inner world, almost tactile, full of textures that evoke movement, body, and vibration.
Far from being a simple “brand sculpture,” MarvelTous explores a micro-fantasy within the commercial framework — a design exercise that brushes against painting, nourished by artifice but also by the need to imagine other possible surfaces. It’s not about representation, but suggestion. About modulating affects rather than meanings.
The piece thus becomes a gentle form of dissent: it doesn’t shout, it doesn’t confront, but it does alter the perception of everyday space. A design that doesn’t aim to solve anything, but rather to open a pause — a slight suspension — in the midst of Gran Vía’s noise.





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