The first thing that impressed me was not a specific object, but the feeling of order. The kind of order that doesn't cool, but refines. The marble, the concrete, the glass, the white light suspended over the tables, the vinyls, the books, the large-format photographs. Nothing was overflowing. Nothing tried to prove too much. Even the luxury seemed contained, polite, sustained by a clear idea of proportion. In other cultural spaces that also fascinate me, there is something more dislocated, more impulsive, more apparently free. Not here. Here, everything responds to a visual discipline that, precisely because of this, is so seductive.

I liked feeling that Saint Laurent does not use art as decoration, but as a language. Babylone is not just a refined showcase: it is a place where the brand transforms its affinities into a program. Exhibitions, special editions, book signings, and meetings have been building an agenda there that mixes artists, photographers, and figures very close to the house's universe. In 2024, for example, the space hosted signings and presentations with names such as Linda Evangelista, Kate Moss alongside Mario Sorrenti, and Zoë Kravitz, in addition to various exhibitions and editorial launches.