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International Women's Day: 5 works you should have on your radar
by Pia Seidel
Atmosphere over lumens: what this designer does differently with home lighting
14.4.2026
Translation: Elicia Payne
Pictures: Pia Seidel
«Turn off the ceiling light!» Federico Stefanovich’s advice is that simple – and just as radical when you consider how most of us illuminate our homes. The Mexico City-based designer doesn’t see light as a mere accessory, but rather as the main component he works with.
Earlier this year, Federico Stefanovich unveiled his new collection, «Salina», at Art Week Mexico City. I’m meeting him at his new showroom. We’re talking about craftsmanship, light as a material – and why artificial intelligence is breaking his heart a little.
Stefanovich grew up in Mexico City, studied industrial design and ended up in lighting design almost by chance. The first piece he designed was a small mobile with a built-in light. Architectural firms loved it and wanted a bigger version. He fulfilled their request. And almost overnight, he became «the lighting guy».
Something you wouldn’t immediately notice is that behind the organic shapes lies a keen understanding of physics and mathematics. While most people chose to study design because they hated maths, for him it was the other way around. For his first mobile, he sent the structural calculations to a physicist friend, who kept sending them back with corrections. «That was something we learnt in school and never needed again» he says, laughing. «It’s fun to do maths again».
What’s the biggest challenge in designing lighting fixtures?
Federico Stefanovich: A light can’t just look pretty – it has to work. Wiring, shipping, changing light bulbs – everything. On top of that, there are certification requirements to consider: regulations in the U.S. and Europe are completely different. When you only have a limited amount of pieces, it’s not very economical. As a result, some customers are unable to purchase my pieces at all. Plus, I don’t have my own workshop. Instead, I work with small craft businesses. That gives the pieces a soul, but it also means I have less control over the finish and quality.
What did you learn about lighting while working on «Salina»?
Up until Salina, I’ve mainly worked with reflections by using metal and strategically placing the light sources. With «Salina», it was the first time I wanted a lampshade that really glows. And fibreglass was the answer: translucent, malleable, with a controlled imperfection. First 3D-printed, then cast into a mould. The inspiration came almost naturally: seashells. Both lampshades and seashells are bodies that hold something. Both reflect this idea of enclosure and substance. And the light itself? It’ll find its way anyway.
Light is like water. It always finds a way.
What’s the biggest misconception about your lamps?
Two things. Firstly, very few people understand how and where the pieces are created. In Europe and the United States, manufacturing is highly industrialised; everything is sterile and standardised. In Mexico City, we have small family workshops, with six to seven people, who have been passing down a craft for generations. This is what gives the pieces character. Secondly, my lamps are sculptures that light up. If you need 500 lumens for the office, you’ve come to the wrong place. If you’re looking for atmosphere, ambiance and beauty, you’ve come to the right place.
My pieces belong to a different category than an Ikea lamp you need for the kitchen.
Are there any current design trends that you’re critical of?
AI in design. I understand the commercial appeal of speed, efficiency and functionality. It’s okay as a tool. But when people use AI to handle the entire creative process, they rob themselves of the best part of being creative: expressing their own thoughts. That makes me sad.
Why use AI in a way that removes the best part of the design process for you?
In the showroom, your pieces shine even during the day, and the natural light transforms them hour by hour. What role does natural light play in your work?
From the very beginning, I think of every piece in terms of two states: on and off. During the day, when the lights aren’t on, it’s all about shape, material and composition. The pieces function almost like sculptures in their own right. As soon as they’re turned on, the light takes over: temperature, intensity and diffusion redefine the piece. Gradations, shadows, depth – all of these change throughout the day.
What lighting tips would you give someone for their home?
Use different light sources at different heights: standard lamps, wall lamps and table lamps. This creates a composition within the room. You can control what gets attention and highlight specific areas. Lighting a room uniformly makes it look flat and boring. Our eyes love to wander. So the main ceiling light can stay off.
Header image: Pia Seidel
Pia Seidel
Senior Editor
Pia.Seidel@digitecgalaxus.chLike a cheerleader, I love celebrating good design and bringing you closer to everything furniture- and interior design- related. I regularly curate simple yet sophisticated interior ideas, report on trends and interview creative minds about their work.
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