How did you first get into the world of vintage design?
Quite simply, really. I needed to furnish my very first apartment, and that is how I started going to flea markets. First the Place du Jeu de Balle in Brussels — daily, chaotic and full of surprises — and then Porte de Vanves in Paris.
Little by little, I trained my eye to spot objects with presence and history. At that stage, it was not yet an approach specifically focused on design, but rather a matter of intuition and curiosity.
Was your education related to design or culture?
Not on paper, no. At the time, I studied social sciences and education, then worked in the public education system before moving into the art world. My knowledge of design developed in the field over the years, through collecting, observation and, above all, passionate conversations with people who understood craftsmanship and form.
I have always been drawn to architecture. To the way objects are conceived and constructed, and to the relationship they establish with space. Over time, these interests became an integral part of my professional life through art, collecting and, more recently, publishing.
I do not subscribe to a philosophy of “second-hand” or “vintage”, and in fact I find that the word tends either to flatten or over-romanticise what should really be considered “historical design”. For me, the emphasis is on cultural significance and quality, not nostalgia.
What is your area of expertise?
My collection has evolved through several different phases. I was initially drawn to the elegance and craftsmanship of French Art Deco, but shifts in the market and rising prices encouraged me to change focus. French modernism, followed by Swiss modernism, then captivated me through their rigour and understated aesthetics.
Today, “modernariato*” occupies much of your attention. This movement, spanning the 1950s to the 1980s, is also at the heart of both my research and publishing work. Inventiveness, precision and poetry… There is an inexhaustible richness to it.
Many of these designers, often trained as architects, were not simply creating objects and furniture: they were redesigning the modern domestic environment.
Where did the idea for these books come from?
The idea grew out of my personal collection. For years, I collected Italian pieces, particularly by Arredoluce and especially Oluce, the Milanese company founded by Giuseppe Ostuni in 1947. I felt the need to put all of this down on paper.
At the time, there was virtually nothing substantial published on the subject. Meeting writer and researcher Thomas Bräuniger at an exhibition proved decisive. Our shared passion for a very specific period naturally led us to collaborate. I supported Thomas in his research and contributed the many lamps from my collection.
In 2021, LUMI PRESS was born…
I founded my own publishing house with the ambition of producing independent, rigorous and beautifully designed books that would remain faithful to our own perspective. Our first publication appeared as early as March of that same year.
How are these books created?
Our approach is artisanal: we create each one from start to finish. Research, interviews, photographic documentation, layout, printing — everything passes through our hands.
To date, we have published two books devoted to Oluce and one to Stilnovo. A third volume on Oluce is being prepared for November 2025.
The immediate and enthusiastic response from the design community surprised us. Collectors, dealers and even a lighting manufacturer contacted us: they wanted to tell their stories and share their archives. These exchanges have been among the most rewarding aspects of the project.
Who buys the books, and what kind of feedback do you receive?
Our audience is made up of people deeply engaged with design. It includes galleries, auction houses, libraries, curators and collectors. These readers are enthusiastic. They appreciate the seriousness of the research and the aesthetic quality of the books as objects in their own right.
Our work helps them identify and contextualise lighting pieces. Some have even told us that they rediscovered lamps they already owned thanks to our books.
What are your future projects?
We are finalising the third volume on Oluce. After that, we will turn our attention to the work of another Italian lighting manufacturer. A lesser-known but important figure whose archives we recently discovered.
Our objective remains unchanged: to preserve and give form to overlooked chapters in the history of design, with depth, clarity and integrity.
*Modernariato: this Italian term refers to modern antiques and design pieces manufactured industrially between the post-war period and the 1960s–1980s.
Contact:
Jean-Lou Majerus
LUMI PRESS
Cécile Ybert