These typefaces combine contemporary high-fashion typography with historical revivals of French royal letterforms, weaving together the legacy of the Romain du Roi with modern editorial aesthetics. At the center stands the SangBleu series (Swiss Typefaces, 2017), a monumental system conceived by Ian Party. It includes SangBleu Kingdom, Empire, Versailles, Republic, Sunrise, and OG Serif/Sans, each designed with multiple optical sizes, weights, and stylistic ranges. Kingdom and Empire reinterpret Didone luxury with sharp contrast and refined proportions, while Republic leans towards pragmatic editorial use, and Sunrise offers expressive warmth. These families, widely adopted in the worlds of fashion, magazines, and branding, epitomize the fusion of historic French elegance with Swiss rational design. Earlier iterations like SangBleu OG Serif (2015) and even Romain BP (2007) demonstrate the project’s long gestation. The SangBleu project is explicitly tied to the Romain du Roi, the royal typeface commissioned by Louis XIV in 1692, cut by Philippe Grandjean and completed by Alexandre and Luce by 1745. This “royal roman” was a scientific and geometric rethinking of the serif letter, used exclusively by the Imprimerie Royale. Revivals like Royal Romain (Wiescher, 2004), Romain du Roi (Party, 2010s), and LaPolice (François Rappo, 2010s) revisit this heritage, sometimes faithfully, sometimes playfully — LaPolice even frames itself as the first “hack” in type history, based on Mathieu Malherbe’s pirated cut. Contemporary designers continue to elaborate on this tradition: Le Grand (Newglyph) and Palais explore monogram-like ligatures and luxury branding aesthetics; Petite Fleur combines Royal Romain capitals with engraved floral initials; ABC Gaisyr (and its Mono version) brings ornamental and typographic experimentation; Kelvin Sans/Avec (205TF, 2019) offer a functional sans counterpart; and expressive projects like Serpiente Display, Black Mamba Venom, Weave, Sunlight, and SunKing reinterpret the same ideas with bold, often serpentine or decorative twists, projecting the aura of royalty, power, and fashion into contemporary digital typography. Chronologically, this cluster moves from the original 17th–18th century Romain du Roi, through 20th-century revivals and adaptations (Royal Romain, Wiescher; LaPolice, Rappo), to the 21st-century SangBleu ecosystem and independent contemporary experiments. Together, they form a bridge between monarchy and modernity, ornament and editorial clarity, exclusivity and wide cultural use.