The beginnings of Flos (meaning “flower” in Latin) blossomed from a brilliant idea: to create objects, starting with a light bulb, that would change the way of life for both the Italian market and the foreign markets.
How do you transform an industry into a laboratory to revolutionize the “lamp” concept? For Sergio Gandini, who began managing Flos in 1963, the company’s endeavors and creative fantasy could coexist without contradiction; the combination of the two would bring success to the brand.
In 1972, the “Italy The New Domestic Landscape” show at New York City’s MoMA– the most important museum of contemporary art in America – was a phenomenon of unprecedented popularity celebrating the culture of art and industry.
Every great success comes from taking risks (or) from the courage to bet. In the mid ’80s, Sergio Gandini met a young Philippe Starck, and accepted to manufacture his fairy-tale lamp, Arà.
Under Piero Gandini’s management, Flos focused on the harmony between iconic forms, artisan craftsmanship and mass-production technology. However, the crucial step towards change came with the realization that contemporary objects can be a form of expression, with as many stylistic interpretations as there are languages in the world.
For Piero Gandini, developing a new Flos identity meant having the courage to make radical choices. Tackling the onslaught of LEDs in the realm of lighting was to be the first step in a second revolution of production which he started in the early 2000s with the acquisition of Federic Martinez’s firm Antares.
“Today, like never before, we must find the synthesis of emotions, technology, poetry, needs, messages, aesthetic and political values. It is not just changing the technique but the society itself and our behaviors, both public and private. We must push beyond our capabilities and imagination to improve people’s lives…
