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Gatto Piccolo Table Lamp

c. 1960

by Achille + Pier Giacomo Castiglioni
for Flos

The Gatto Piccolo table lamp is part of the iconic range of early 1960s light­ing designs from Achille and Pier Giacomo Castiglioni that took its inspi­ra­tion from George Nelson’s struc­turally similar lamps for Howard Miller Company in the late 1940s. Each piece in the Castiglioni Broth­ers’ collec­tion of suspen­sion and table lamps features an inter­nal powder-coated steel frame onto which a fibrous white polymer has been sprayed to form a cocoon-like” skin that func­tions as a diffuser.

Arturo Eisenkeil, a Euro­pean importer of this special polymer made in the United States was looking for similar appli­ca­tions in Italy. With the Castiglioni Broth­ers’ and Tobia Scarpa’s explo­ration of the mate­r­ial to also create light­ing, he joined forces with Dino Gavina and Cesare Cassina to form a company to produce these designs – result­ingly, Flos was created in 1962.

Noted here is the Gatto Piccolo table lamp that features a wonder­fully organic shape with a cylin­dri­cal base that tapers to form a neck, culmi­nat­ing in a balloon-like form. Gatto Piccolo lamp is a fabu­lously sculp­tural piece that is a perfect scale for use as a small accent lamp. It is also wonder­ful paired with the Gatto – a larger, comple­men­tary size that is avail­able in a separate listing.

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FLOS Catalog 2021


FLOS Catalog 2021


Achille + Pier Giacomo Castiglioni


In 1938, brothers Livio and Pier Giacomo created the Castiglioni Studio, after a few years of collaboration they were joined by a third brother, Achille, in 1944. By 1952 the designs from the studio were helmed by Pier and Achille. As industrial designers, the brothers pushed the limits of design and materials. Receiving a collective achievement of 9 Compasso d'Oro awards. It is believed that over the course of their careers Achille and Pier created over 150 products. Castiglioni Studio had design relationships with Flos, Zanotta, Alessi, and many more. Over the course of their career as design collaborators, the aesthetics of their designs were so in-line with one another, that there was never a clear delineation between the stylistic approaches of either brother.

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