PORTRAIT OF AN ICON Ettore Sottsass, the designer who gave lighting a postmodern spirit

In the history of 20th-century design, there are few names that evoke as much fascination and divided opinion as Ettore Sottsass (1917–2007). Born in Innsbruck, raised in Turin, and building his career primarily in Milan, Sottsass was a figure who constantly balanced between architecture, industrial design, and artistic experimentation. In his work, we cannot draw a clear line where the utilitarian ends and the poetic begins, because it is precisely this collision of function and emotion that has made him one of the most influential designers of the second half of the 20th century. century. When Sottsass is mentioned, the first association is the Memphis group, the famous collective founded in 1981, which through its avant-garde pieces of furniture and lighting introduced color, play and irony into the previously strict and minimalist world of design.

Design is a way to tell a story

“Design is not just about creating beautiful objects, design is a way to tell a story, to convey emotions and to start a conversation,” said Sottsass. This is precisely the role he saw in lighting: a lamp, for him, was not just a source of light, but an object with an attitude, an object that communicates with space and people. That is why his lamps often acted like sculptures – vibrant colors, unexpected materials, bold geometries. Through them, he managed to free lighting from the role of an “invisible” supporting function and turn it into the main protagonist of the interior.

Sottsass’s most famous lamps, such as the Tahiti lamp (1981), bear precisely this legacy. This table model with the characteristic profile of a bird in flight, in a combination of pastel colors and sharp angles, has become an icon of Memphis and a symbol of play in design. There is also the Ashoka table lamp (1981), with curved lines and an almost totemic shape, which combines a reference to ancient India with the spirit of pop art. Another example is the Callimaco floor lamp (1982), which he designed for Artemis: cylindrical forms, clean lines and primary colors reflect Sottsass’ ability to combine architectural spirit with humor and cheerfulness. Each of these lamps is more than a product – they are manifestos.

Sottsass owes the history of lighting design

Sottsass owed the history of lighting design precisely by freeing lighting from the monotony of functionalism. He showed that a lamp can be the “voice” of a space, an artistic commentary, and an object of pleasure. His work reminds us that design does not have to be strictly rational, but also emotional. “Design is a ritual, not a discipline,” he used to say, reminding generations of designers not to be afraid of color, an ironic tone, or an unexpected shape.

His legacy in lighting is seen today in many contemporary studios and manufacturers that strive to merge aesthetics and experience. When the name Ettore Sottsass is mentioned in the world of design, the first thing that comes to mind is the courage to push boundaries – and that is, ultimately, the greatest gift he left to both light and those who shape it.