Story Telling


When it comes to LZF approaching everything they do like it’s a work of fine art, their 2016 marketing campaign Telling Tales, reinforces their place as leaders of the pack.

Telling Tales is a collaboration between a novelist, a design studio, and a film industry set and wardrobe designer. Managed by Ester Colomina and directed down to the last detail by LZF founder Mariví Calvo, the campaign is set in the 1950’s and inspired by the realist painter Edward Hopper whose work depicted scenes of modern American life.

Hopper’s paintings of silent, empty spaces which were often uninhabited by people, have a pervading sense of loneliness. When people were present, their encounters were stilted and uneasy. His paintings reach us where we are most vulnerable, stimulating our own private loneliness, forcing us to acknowledge that we’re only human, fallible flesh and bone.

If my description of Telling Tales sounds melancholic than perhaps it is, but it’s also seductive and very beautiful. Realised in a series of images and short films, the scenes take place at night (in line with Hopper’s own consistent use of a dark palette), where the nocturnal happenings of the characters are illuminated by some of LZF’s choicest lamps.

Mariví’s brief to her collaborators was that the focus be on the people who exist within the space, rather than the space itself. This is an unusual approach and one rarely taken by a company whose market is high-end interiors. What ensued is brilliant; a still-life with lamps, a campaign that is a work of art rather than a glossy advertorial.

Masquespacio Studio art-directed Mariví’s concept through a series of images that illustrate the intricate and subtle relationship between narrated characters, light and the spaces they occupy.

With overtures of Hitchcock and film noir, colours and compositions synonymous with the 1950’s were recreated by photographer Maria Mira, and digital imagers Cauliti Studio. Writer Grasso Toro penned the intriguing, but equally elusive tale of the characters, Julie and Nelson. Read Part I here…

Our interest, or our voyeurism, is sufficiently piqued as we observe Julie and Nelson in their home. We watch them when they think they’re alone, we wonder about them, who are they and what will happen to them, about their problems and about their future. For all our cold detachment in a world full of marketing bombardment, we realise that LZF made us care.







LZF Lamps, Lucifer Lamps




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