the Beyer son , Johan , took over as the new director . The glassworks employees had renewed faith in the future , which was evident not only in the glass , but also in the architecture and surroundings . Johan Beyer had the old houses fixed up and personal homes built ; he made sure gardens were tended and that the factory was modernized . In accordance with the law , workers were granted three weeks of vacation in 1951 . With improved personal finances and time off , another wave of consumption arrived as the glass industry benefited from an interest in gifts . Selbing ’ s photo glass was a popular souvenir , earning large quantities of money for several years . Orrefors seemed to be stable .
A generational change had taken place among the artists and now , no one had overarching responsibility for artistic development . But the new designers enthusiastically experimented and tried new things . Danish Henning Koppel , who was Jewish , contacted Orrefors when he fled Denmark while it was occupied by Germany , and he joined the designers for a period of time . He pushed himself and the limits of glass with his elegant patterns and shapes , in which the glass appeared to be billowing . “ Glass has its limits . I want to get as close to them as possible .” Eva Englund developed the graal technique , which incorporates colors and patterns within the glass , in her bowls and vases . Ingeborg Lundin ’ s cut-crystal set quickly became a classic . And then came the next challenge : increasingly stiff competition from the rest of the world .
Shifting focus – 1970s Glass originally came to Småland through knowledge from afar . Now , as the world was opening up , aesthetics and expertise emanated from the Kingdom of Crystal . This was especially thanks to the glass school in Nybro that Beyer started , which had developed a reputation around the world . Copies of Orreforsstyle glass had begun to pop up in the US already in the 30s , but now there were variations of essentially every product in circulation , made in countries with competent glass industries , but where lower pay resulted in cheaper goods for consumers . How would Orrefors handle this new situation ? Broaden the selection , or narrow it down ? Enhance or streamline ? In the 70s , Johan Beyer needed support to face these challenges , which he received through the Wallenberg Group . They came in as partners first , eventually becoming majority shareholders . At this point , marketing and the ongoing recruitment of designers were both focused on increased sales .
Closing the circle – 1990-2020 Moving forward to 1990 , the glassworks group Orrefors Kosta Boda was established to take advantage of synergies between multiple glassworks in Småland . New owners were brought in again : Orrefors Kosta Boda AB has been owned by New Wave Group AB since 2005 . At this point , the assortment began to be refined and specialized . New products were made for a target audience of conscientious private buyers , restaurants and businesses with high standards for excellent and sustainable design .
Most glassworks in Sweden have cooled down now , while the country still generates knowledge of glass at art schools and through internships in production . This allows Orrefors to continuously welcome new designers who began working with glass early in their artistic careers , and who can thus work closely with production .
Orrefors ’ glass products are now made at a single location in Sweden : the Kosta glassworks , where designers , glassblowers , grinders , painters , glass cutters and inspectors take part daily in the craftsmanship of production at the glassworks , which has around 150 employees . Orrefors also produces products in other countries at glassworks that were once predecessors to the glass of Småland , offshoots in some cases , and often , former competitors . Now they have become partners instead . Lessons , thoughts and ideas are exchanged once again across national borders and between continents – indeed , the same way that glass has always traveled : via trade routes , through people ’ s knowledge , and with curiosity and a love for glass as a basis for the resulting products .
The future Orrefors ’ history involves complex connections and the interaction and leveraging of ideas . Sometimes , this has meant random events , and bold ideas have often blossomed and occasionally failed . Stubbornness and dedication are the common threads . The forest has provided a key condition , and represents the ways in which glass , nature and society are connected and have evolved side by side in social and ecological interactions . The growth rings of the trees bear witness to the hard work , to the financiers who invested , and to the artists who made waves and brought vitality . Quality , generosity and curiosity are keywords in the history of Orrefors . Today , this is apparent through designers like Ingegerd Råman , who designs glass products with the utmost precision , or Claesson Koivisto Rune , a team that allows each item to be unique .
Glass is a material that is full of contradictions . It can be fluid and firm , hot and cold , soft and hard . Simple and complicated . It can be difficult to tame , but unbelievably beautiful when the artist and glassblower both succeed . The history and future of glass are contained in its lengthy and experienced past , and in the continuous challenge and desire to push even further . Orrefors products will continue to carry memories , to be used , and to amaze generations to come . They are loved , cared for , passed down , passed on – and they always contribute to a more beautiful world .
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