In 2022, I was showing with my Cairo gallery Le Lab at Salon Art + Design in Manhattan. As I strolled down the spacious Park Avenue Armory aisles, I was stopped by the Gastou name, printed above the booth of the emblematic Parisian gallery. I had heard that its founder, Yves Gastou, had passed away in 2020, leaving a substantial world of art and design to his son Victor, who had joined the gallery in the late 2000s, fresh from university.
Victor found himself prematurely responsible for a legacy that was both a blessing and a challenge. Having to live up to an illustrious father is something I can relate to. Yet he has navigated that space with remarkable finesse, building a gallery that honors his father’s vision without compromising his own.
Founded in the mid-1980s, Galerie Gastou quickly distinguished itself by championing design pieces created with the spirit and rigor of artworks. Ettore Sottsass, Ron Arad, Shiro Kuramata, Tom Dixon, André Dubreuil, Philippe Hiquily, Ado Chale, Guillaume Bardet, Béatrice Serre, Agnès Debizet, and Zaha Hadid are among the many exceptional creatives who have woven the gallery’s story.
All the more reason why I was deeply touched when I bumped into Victor and discovered that he already knew my work. We instantly clicked. I told him, almost instinctively, about my teenage strolls down rue Bonaparte, where my fascination for art merging with design, yet to be defined as “Collectible Design”, was regularly stirred by the windows adorning the now-iconic Ettore Sottsass terrazzo façade.
I was honored to join the gallery a few years later. Our first PAD Paris show was memorably dedicated to Egypt in recognition of my work. Now Victor is preparing for his next PAD exhibition in London, while I rush anxiously against Egyptian time to deliver what was promised.
In anticipation of PAD London, and in the hope of convincing Victor to be patient with me for an upcoming solo show, I was privileged to sit down with him. Discreet yet playful, focused yet uncompromising, Victor’s vision and ethics resonate.
Mon Victor, since this will be printed in English, let’s continue in English if you don’t mind. How are you?
My dear Omar, thank you for this generous introduction. Everything is going very well, I feel truly energized at the moment, as the gallery is overflowing with exciting projects. In Paris, we are celebrating the gallery’s 40th anniversary with an exhibition retracing the many artistic movements we have represented over the years. I am preparing for PAD London, where I will show your most recent creations, truly extraordinary pieces! Then comes Design Miami/Paris in October, where another narrative will unfold, and still more surprises beyond that. There is a marvelous effervescence.
I’d like to begin with something that often comes up when I mention the gallery. The comparisons with the days when your father was running it. They are inevitable I guess. How do you approach them?
To be honest, I experience it all with great serenity, and I’ll tell you why. The world my father inhabited as an antiquaire simply no longer exists. Even if I had wanted to follow his exact path, it would have been impossible: the métier, the codes, the habits, the commercial networks have all transformed. I adapted, I evolved, and I could only do so because of everything he taught me. I am deeply proud of his legacy, and I continue to move forward while honoring our history. It is a wonderful challenge.
You joined your father’s world quite young, straight out of university. What made you decide to step into the gallery rather than follow another path?
I did try another path, but the love of beauty and art quickly caught up with me. I once worked in a large multinational, but I was unhappy, the lack of human contact, the absence of beauty weighed heavily on me. I resigned, and while searching for another direction, I began helping my father at the gallery. Once I stepped inside, I never left. It is such an extraordinary environment, with the privilege of meeting remarkable artists and clients. Every day is diferent, what more could one ask for?
What’s the one lesson or piece of advice from him that you still carry with you every day?
The greatest lesson my father gave me was to trust the eye. Yves was instinctive; he placed immense faith in his eye, and he was right. Over his career, he must have seen millions of objects, and when one truly captures your attention, even if it is unknown, it means it has something special. You must trust your taste, your instinct. It is something profound, not always explained rationally.
Galerie Gastou has long been known for its position at the crossroads of art and design. How do you see that role evolving today, and what do you feel sets your gallery apart?
The boundary between art and design is very thin. At the gallery, we love pieces that “spill over”, those that spark the question: is it art? sculpture? or simply a chair? The very act of asking the question is already a victory; it opens a reflection that is endlessly fascinating. There is not always an answer, and that is precisely what makes this universe magical.
You’re carrying forward a heritage, but you’re also shaping your own path. Where do you feel your personal signature is most visible in the gallery today?
My father was my mentor and influenced me greatly. Yet my taste and sense of scenography differ somewhat from his. Yves had a maximalist spirit, he loved abundant décors. I lean towards greater clarity, letting objects breathe. I also like to go deeper when presenting certain artists; Yves, with his voracious curiosity, rarely lingered on one. I strive to be more consistent. Above all, I love décors, they are the essential frames that allow us to tell a story and inspire dreams. I cannot imagine a stand without narrative.
The gallery champions both legendary masters and younger, emerging voices. How do you find the right balance between legacy and discovery?
It is an art we have developed with time and experience, like surf and turf in cuisine, or sweet and savory. I find that opposites complete each other: the old brings presence, the contemporary brings brilliance, and each needs the other. It is the same in many fields, experience must meet youthful energy. And I often say: beautiful objects always go well together. Quality is the indispensable key.
Galerie Gastou is a regular at PAD fairs. Do you approach PAD London differently than Paris? How so? Do you approach fairs differently according to location? ( I know that’s three questions)
Each fair has its own identity. London loves the establishment spirit, refined pieces, pure forms, controlled colors. There is a strong community of collectors from the Middle East and Europe, though fewer Americans and Asians. I try to create stands that speak to them. This year, I am collaborating with Féau Boiseries, who will install a décor of palmwood paneling with mirrored effects.
You’ve been skillfully crafting elaborate presentations around the western world. What about the Middle East, Africa, Asia or Latin America? Do you feel a desire to venture into new markets?
Of course there is the desire to open new markets, but I cannot do everything. I want the gallery to remain at a human scale, I do not see myself opening branches around the world. The Middle East is becoming ready, and excellent fairs are developing there. Africa, Asia, and Latin America have cultures and tastes too far from the European tradition I present through my selection. Besides, the calendar is already full: Paris, London, Miami, Gstaad, Basel…
Looking ahead, what excites you most about the next chapter both for you personally and for Galerie Gastou?
I have no fixed objectives. I like to be guided by encounters and opportunities. I want to discover, and to make others discover. The day I lose the sacred fire, I will stop, for this is a métier of passion, and it must never be done halfway.
RAPID ROUND
Favorite Object
A dream piece? Miss Blanche by Kuramata, an extraordinary chair of incredible poetry.
Favorite city besides Paris
A city? Venice. Its light, its history, the way one moves through it, its destiny marked by disappearance, everything is magical.
Favorite Book
Two books? It’s 2 biographie the one of Marcus Aurelius’ Meditations and Keith Richards’ Life. Make of that what you will!
Favorite dish
Seven-hour lamb. The last true luxury of our time is leisure.
Day or night?
The night, only the night.
Favorite song
Favorite film
La Grande Bellezza by Paolo Sorrentino
Favorite drink
Your job in one word
Curiosity
Thank you Victor we love you
Happy October
Omar
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