LUPELA

Lupela was a Spanish lighting brand closely connected to the Pérez de la Oliva family and is best known today for its articulated desk lamps from the 1960s.

The origin of the name “Lupela” is not conclusively documented. In auction descriptions and secondary sources, it is sometimes explained as an apócope (a shortened form) of the name Luis Pérez Lanzas. However, no primary archival document is currently known that confirms this explanation beyond doubt.

According to several accounts, Luis Pérez Lanzas had two sons: Fernando Pérez de la Oliva, who later registered the LUPELA trademark, and Luis Pérez de la Oliva, who went on to co-found the well-known Spanish manufacturer Fase together with Pedro Martín García.

Lupela is frequently associated with designs by José Luis Gugel Sancha, including models such as Reina, Cobra, Cisne and the numbered models 225 and 226. Some narratives also mention an agreement that Fase would avoid producing articulated desk lamps; later Fase designs are often described as being inspired by the Lupela concept. This story is widely repeated but remains difficult to verify through primary sources.

FASE

Fase (Fábrica de Artículos de Sevilla Electrónica) was founded in Madrid in the early 1960s by entrepreneur Pedro Martín García together with designer Luis Pérez de la Oliva. The company would grow into one of the most iconic Spanish lighting manufacturers of the late Franco era and the Spanish design transition period.

One of their earliest and most recognisable designs was the Boomerang 64 desk lamp from 1964. You can find it here on Vintageinfo. The Boomerang became a symbol of Spanish modern desk lighting and was widely used in administrative and governmental offices.

Initially, Fase distributed their self-produced lamps locally around Madrid. Due to growing success, the company opened a factory in Torrejón de Ardoz, on the outskirts of the capital. Production expanded rapidly during the late 1960s and 1970s.

Although best known for lighting, Fase also produced complementary objects such as ashtrays, office bins and coat racks, often in matching finishes.

During the final years of the Franco regime, Fase supplied lamps to governmental institutions, including offices connected to the administration and the Guardia Civil. After the death of Francisco Franco in 1975 and Spain’s transition to democracy, the company gradually embraced more internationally inspired aesthetics, including elements influenced by Italian modernism and Bauhaus design principles.

Throughout the 1970s, Fase expanded strongly into export markets. Lamps were distributed in Belgium, The Netherlands, Luxembourg, Great Britain, Norway, France, Italy, Germany, Portugal, the United Arab Emirates, Japan, Hong Kong, Morocco, the United States and Canada. In total, Fase exported to more than thirty countries.

The 1980s and decline

During the 1980s, Fase followed the market trend toward halogen lighting. This technological shift marked a stylistic break from their earlier heavy, articulated steel constructions. The transition proved commercially difficult. In the early 1990s, the company received a substantial fine from the Spanish tax authorities due to fiscal irregularities. Financial pressure increased, and production gradually ceased. Fase was officially dissolved in 1996.

Before its final closure, the manufacturing license was reportedly transferred to the German company Ma-Of, which produced slightly modified versions of certain classic Fase models, often with additional chrome detailing. When production stopped abruptly, significant warehouse stock remained. This explains why many Fase lamps are still found today in unused condition, sometimes boxed and labelled (NOS – New Old Stock).

Designers

Several designers contributed to the company’s success: Gabriel Teixidó designed, among others, the Iberia and Meca series, well known for their technical articulation and minimalist elegance. Tomás Díaz Magro created domestic-oriented designs such as the Apolo, Minifase and Impala models. The most prolific designer was Luis Pérez de la Oliva, responsible for a large part of Fase’s core catalogue.

Distributed designs

Besides its own production, Fase also distributed designs by other manufacturers. The Japanese Yamada Shomei‘Manon’ table lamp can be found here on Vintageinfo. The Prisma table lamp was produced in Italy by F.A.A.I. Arredo. Fase also marketed the Sinus stacking ashtray by German manufacturer Helit, a 1967 design by Walter Zeischegg. The design is part of the permanent collection of the Museum of Modern Art (MoMA) in New York.