Anthony Vaccarello’s reign at the Kering Group’s Parisian maison continues to stand out for its transversality, exploring all fields in which a creative direction can be enriched with new impulses. Saint Laurent Rive Droite – the cultural hub echoing in its name the legendary Rive Gauche collections of the 1960s and which brings together books, art, events, music and a wide-ranging cultural programme on the right bank of the Seine – takes its shape precisely from this expanded vision of an identity, translating it also and above all into the language of its spaces.

Donald Judd, the American artist and central figure of Minimal Art, was not afraid of trespassing boundaries either: from the 1970s onwards, he designed furniture first for his Spring Street loft in New York and then for his studio in Marfa, Texas. In the early 1990s, Judd himself wrote in his “It’s hard to find a good lamp” that “the art of a chair is not its resemblance to art, but is partly its reasonableness, usefulness, and scale as a chair”. By 1984, the production of his furniture had in fact been expanded and formalised in terms of distribution, continuing to this day with a brand managed by the Judd Foundation.

Then, in February 2025, Saint Laurent Rive Droite reopened its doors after a period of conceptual and interior renovation, and in its palette of minimalist signs and sharp geometries, Judd's furniture plays a pivotal role: among stripped-out walls and columns, abstract boiseries, and ceilings that become surfaces made of diffused light, the essential shapes of seats, supports and small bookcases take their place, with a new feature. The collaboration between Saint Laurent and Donald Judd Furniture is expressed in two new finishes for the metal furniture, white and black, now the hallmark of the Rive Droite project.

A way of crossing different lines of research, which we have already seen in the Rive Droite edition of another icon of contemporary design, the Tykho radio by Lexon, and which, in the spaces of rue Saint Honoré, offers a glimpse of a possible new chapter in a saga with early-millennium origins: that of concept stores, increasingly difficult to pigeonhole and increasingly open to the hybridization of art and production.