Cover Photo: Federico Peri con Fontanella, lampada per FontanaArte, – ph. © Amir Farzad
After starting as a junior designer in Paris, Federico Peri opened his studio in Milan in 2011, focusing on interior and product design. Lighting design quickly became one of his favourite areas, and he has since become a recognized name globally, including being listed by AD France among the top 100 designers of the year. His portfolio features lighting and systems for Brokis, Baxter, Contardi, CTO Lighting, Editions Milano, FontanaArte, Purho Murano, and Salviati.
Versatility in design (materials, processes, mass and limited edition pieces) is one of your strengths. Will you maintain this characteristic, or do you foresee changes in the future?
Absolutely. I started as an interior designer, but over the years, as I often designed custom furniture for the spaces I was working on, I developed a keen interest in product design. It led me to delve deeper into this field, making it an integral part of my studio’s activities.
Moving between product and interior design is something I love about my job; they are complementary areas that have allowed me to improve in both. I also consider many practical and functional aspects typical of living spaces. Similarly, when working on interior projects, I focus on site-specific furniture that could be prototypes for furniture companies.
What do you cherish from your Paris experience?
It was my first job experience; I savored every detail with the fresh curiosity of a newcomer. It was a magical time, not only having the chance to live in a grand city like Paris, but also getting to meet fascinating figures like the Bouroullec brothers, Matali Crasset, and others.
For a young designer, meeting such renowned figures in the global design scene is unforgettable, imprinting a direction that stays with you and subtly guides your path—a treasure I’ll always hold dear. Moreover, moving abroad and experiencing my first job in a different language was incredibly enriching, a true trial by fire!
Craftsmanship is another point of your work; you’ve even worked in Murano furnaces. Would you recommend such experiences to young designers?
Definitely. Working in various crafts, such as glassmaking with Salviati and Purho Murano, has been invaluable. It allowed me to understand the intricacies of glass production and other materials. Engaging with small artisanal workshops and manufacturers offers lessons on different scales but with similar dynamics.
What does urging companies to invest in and produce long-lasting goods imply for a designer?
Durable can be understood as stylistic longevity and the quality of the materials. As far as the latter is concerned, I am fortunate to work with companies that love to work with authentic materials: this is often synonymous with quality, or at least, you get the feeling that they improve with time. As far as aesthetics is concerned, on the other hand, it implies not following the latest market trend at all costs but finding one’s language that will last over time, always with the aim of innovating.
What can we expect from your lighting projects at the next Salone?
I’ll present my major lighting projects at Euroluce at the Milan Furniture Fair in 2025. Currently, I’m developing the Wave for Baxter and Linfa for Tooy, building on the success of the last Euroluce collection.
