Andrée Putman invented the re-edition. Her studio still lives by it

In 1978, Andrée Putman did what no one had done before her: she tracked down the heirs of forgotten modernist designers of the 1920s and 1930s, bought the rights and put their pieces back into production. The re-edition market, as it exists today, begins there. Almost half a century later, the studio that bears her name applies the same method to its own archives.

What she gave back to the world

Andrée Putman (1925-2013) marked design with a pared-down, elegant, resolutely contemporary style. Her gesture: free spaces from the superfluous and make beauty accessible without ever giving in to ostentation. After the re-editions came a run of landmark projects. The Morgans Hotel in New York, in 1984, the world's first boutique hotel, whose black-and-white chequerboard became iconic. Jack Lang's office at the Ministry of Culture in 1985, the escalators of Le Bon Marché in 1988, the interior of Concorde in 1994. The Putman style redefined French chic far beyond France.

A new chapter, in the centenary year

Founded in 1997 by Andrée Putman, the studio works across interior architecture, exhibition design, product design and editing. In 2025, the arrival of Aurélie Laure at the head of the agency, alongside Olivia Putman as artistic director, opened a new chapter. And 2026 is the centenary of its founder's birth: a programme running until December, two galleries opened in Paris and New York, new interior projects, exhibition designs including Bel Ouvrage Venezia and Hospitalité Lyrique at Galerie Le FRENCH DESIGN. The studio has also created two awards for tomorrow's talents, the Prix Andrée Putman de la Jeune Création and the Emerging Talent Award.

The furniture: pieces designed for projects, never sold

This is the heart of it. The re-editions launched this year come from pieces originally created for specific projects and never put on the market. The half-ellipse Crescent Moon sofa, the Compas dans l'œil lamp, the Assis sur un Nuage chair, the Voie lactée rug, the Confidence desk, the Trois Carats et Demi and Eclipse coffee tables, the Midi Suspendu daybed. Alongside them, the Collector editions reinterpret the iconic pieces in new materials, such as the limited-edition Mille et Un Carrés table.

Everything is made in France by top-tier workshops, and each piece carries a digital certificate of ownership, recorded on the blockchain, guaranteeing its authenticity. For a house whose founding gesture exposed its own re-editions to industrial copying, it is an answer that makes sense.

Why this address

The new Galerie Andrée Putman sits at 9 bis avenue de Saxe, in a former school converted in the 1970s. It shows the re-editions, the new creations, the collaborations and rare archive pieces, in dialogue with works from Galerie Templon. The place is never frozen: several times a year, a new display highlights a period, a movement, a piece or a collection.

The gallery is usually reserved for professionals. It opens regularly to the public during Paris's major cultural events and design trails. It is the place to go to understand what a re-edition really means: the original drawings, the rights, today's materials, the compromises openly made.

Going there

Galerie Andrée Putman — 9 bis avenue de Saxe, 75007 Paris. Open to the public during Paris's major design events; dates are announced on andreeputman.com.

The Beyit gesture: photograph a piece, scan it. The tool tells you who edits it today, what the original is worth, and what is merely an imitation.