Sitting down with Charles Stone, a Founder of Fisher Marantz Stone (FMS), is never a short conversation—and that’s a good thing. We met at Euroluce 2025 in Milan for a wide-ranging discussion that touched on innovation, trade, and the evolution of lighting design. Charles had just wrapped up an animated conversation with Rogier van der Heide, a longtime friend. He offered me candid insight into the industry he has helped shape over four decades.
“Rogier is one of my oldest lighting friends,” Charles said at the outset, recalling a 35-year friendship that began on a flight to Las Vegas for LightFair. “We don’t remember the year, but it’s been a long time. I was sitting in first class next to this really tall guy who turns out to be a lighting designer from Amsterdam. (Rogier’s legs won’t fit into a coach seat) He was headed to LightFair to receive an award. I was heading to LightFair to receive an award. That’s how these relationships begin.”
“The show feels twice as big as it did two years ago,” he said. “We’re at the end of a full LED innovation cycle. The retooling is done, fixtures are smaller, optics are better, and quality is way up. There is more good lighting on display here now than I’ve seen before.”
He was particularly struck by the shift in the nature of Euroluce itself.
“It used to be mostly about decorative lighting—lampshades from Spain and Italy. But that’s changed. Now you see serious commercial, and architectural products from all the major Italian players. Companies such as Targetti, Reggiani, and Flos have completely transformed. These companies have developed personalities grounded in quality.”
Charles noted the return of Piero Gandini at FLOS and welcomed the company’s “renewed focus on architecture and simplicity”.
“Targetti has undergone a remarkable rejuvenation with an emphasis on quality under the leadership of CEO Giovanni Bonazzi. We designed a versatile and innovative exterior fixture with them called the Vader, which they are displaying at the show.”
He also mentioned Barovier&Toso, Preciosa, Lasvit, and Folio. “They’re not just showing off chandeliers anymore. They’re showing glass manufacturing capabilities, backlighting systems, and well-executed demonstrations. The booths themselves are beautiful.”
“And Lucifer Lighting from the U.S. has a great location at the fair this year. The Mathews family reinvests in innovation and is focused on quality.”
“LedsC4 had a clever interchangeable LED modular system that surprised me.”
The conversation took a turn when I asked Charles if he was worried about tariffs or the economy.
“I’m one of those people who thinks the tariff drama will be short-lived,” he replied. “I read the news last night—the stock market jumped dramatically on Wednesday. This morning it dropped again. But should we let the stock market determine our trade policy?”
Charles’s experience working internationally for 40 years has shaped his perspective on global trade.
“You just can’t sell U.S.-made fixtures in a lot of countries,” he explained. “Not because of quality, but because of tariffs. I’ve worked in places where U.S. lighting products get hit with a 30 to 40 percent tariff. That makes it almost impossible to specify them. Even if you know it’s the right fixture, it’s going to get replaced with something cheaper.”
He emphasized that this issue goes beyond patriotism. “It’s not nationalism. It’s about quality and integrity. Designers know what works, and we want the freedom to choose the right product without having the product priced out of reach due to import duties.”
From Charles’s point of view, the current tariff negotiations could be a step toward fairness. “Finally, we have someone saying, ‘This isn’t fair. Let’s have equal tariffs—or low tariffs on both sides.’ That’s a sensible goal. And if we get there, it will benefit everyone.”
We wrapped up our conversation looking ahead to IALD Enlighten Americas in Tucson. “I’ll be there,” he confirmed. “We have a house across the road – five minutes if you drive slowly”.
Charles is right, Euroluce is evolving and there is more architectural lighting—and there is an air of quality that transcends this show.